Showing posts with label Fota. Show all posts
Showing posts with label Fota. Show all posts

Saturday, 2 June 2012

Vth Fota Conference



St. Colman’s Society for Catholic Liturgy 

Fifth Fota International Liturgy Conference 
Clarion Hotel, Lapp’s Quay, Cork City, Ireland 
7-9 July 2012 
PROVISIONAL PROGRAMME 
______________________ 
 
Saturday, 7 July
9.30 am Opening of the Conference
9.45 am: Address by the Chairman, Prof. D. Vincent Twomey, SVD, Rubrics and Ritual - the letter v. the spirit?
10.15 am: Fr. Daniel Jones, The verum sacrificium of Christ and of Christians according to St. Augustine.
11.00am: Break
11.15am: Dr. Mariusz Bilinewicz, Reasonable Worship: Joseph Ratzinger's Theology of Sacrifice
12.00 pm: Fr. Gerard Deighan, Continuity in Sacrifice: from Old Testament to New.
1.00 pm: Luncheon
2.30 pm: Dr. Oliver Treanor, Eucharist and Church: One Communion in the Triune Body of Christ
3.15 pm: Fr. Robert Abeynaike, O. Cist., The Sacrificial Character of the Last Supper and Consequently of the Eucharist According to Scripture.
4.00 pm: Break
4.15 pm: Fr. Thomas McGovern, The Eucharistic Magisterium of Pope John Paul II: An Overview
5.00 pm: Discussion Panel
7.00 pm: Pontifical Vespers at Sts Peter and Paul’s
8.30 pm: Conference Dinner.

Sunday, 8 July
11.00 am Pontifical High Mass at Sts Peter and Paul’s
3.00 pm: Fr. Neil Xavier O’Donoghue: Sacrifice and Communion in the Eucharistic Liturgy of Pre-Norman Ireland
4.00 pm: Break
4.15 pm: Fr. Patrick Gorevan, O sacrum convivium: St Thomas on the Eucharist.
5.00 pm: Discussion Panel
7.00 pm: Pontifical Vespers at Sts Peter and Paul’s

Monday, 9 July
9.00 am: His Eminence Raymond Leo Cardinal Burke
9.45 am: Prof. Dr. Klaus Berger, Divine Worship in the Revelation of St. John. Critical questions for the Western understanding of Liturgy.
10.30 am: Break
10.45am: Mons. Joseph Murphy, The Mystery of Faith: Divo Barsotti on the Eucharist.
12.00 noon: High Mass at Sts Peter and Paul’s
1.15 pm: Luncheon
2.30 pm: Prof. Dr. Manfred Hauke, What is the Holy Mass? The Systematical Discussion on the 'Essence' of Eucharistic Sacrifice.
3.15 pm: Prof. Dr. Michael Stickelbroeck, The Mystery of Eucharist in the Systematic Theology of M.J. Scheeben.
4.00 pm: Break
5.00 pm: Discussion Panel and Concluding Remarks
5.30: St. Colman’s Society for Catholic Liturgy: Notices 2012-2013

Saturday, 10 July 2010

St. Colman's Liturgy Conference - First Vespers

This evening was held the first liturgical event of the third Liturgical Conference organised by St. Colman's Society for Catholic Liturgy in the Church of Ss. Peter and Paul, Cork.

First Vespers of the Seventh Sunday after Pentecost was celebrated by His Excellency, the Most Reverend Archbishop Raymond Leo Burke, Prefect of the Supreme Tribunal of the Apostolic Signatura.











[Feel free to use these images but please credit this blog and give proper reference to the location and occasion - Convenor]

I have previously described this Church but I would like to make one further observation, which is that it is a Church of 'Juniors.'

By that I mean that it was the product of the work of two men, Archdeacon John Murphy and Edward Welby Pugin, who followed in the footsteps of elder relations, an uncle, Bishop John Murphy of Cork and Ross, in the former case, and a father, the great Augustus Welby Pugin, in the latter. I may say also that Archdeacon Murphy's brother, Francis Murphy, S.L., M.P., was a figure of no small interest himself.

However, the figure that interests me today is Bishop John Murphy (1772-1847)(r. 1815-1847). He was a member of the great brewing family of Cork City. Dean Murphy(!) in his life of Bishop Murphy declares: "while yet in his tender years displayed that pious disposition which, combined with attachment to study, determined his attachment to the clerical state." Dean Murphy himself, who was secretary to the Synod of Thurles in 1850, Vicar General of Cork from 1853 and first Dean of the reconstituted Chapter of Cork in 1858, served as Curate in Ss. Peter and Paul's from 1838-'42.

Bishop Murphy's Priestly studies began, by the arrangement of Bishop Moylan of Cork, at the Irish College in Paris in 1787 but rebellion in France forced him to remove from France. His studies were completed at the Irish College in Lisbon, where he was ordained Priest in 1796, with a dispensation on account of his youth.

He served in the Parish of Ss. Peter and Paul as Curate and then, like his nephew after him, as Parish Priest. Bishop Murphy was coadjutor to Dr. Moylan (who was instrumental in the foundation of the Presentation Sisters) but only for less than a month between January and February, 1815, when he succeeded to the See of Cork upon his predecessor's death. He was to consecrate both Bishop Daniel Murphy of Hobart, uncle of 'the Murphy-O'Connors' (as Vicar Apostolic of Hyderabad) and Bishop John England of Charleston.

Unlike his precedessor, Dr. Moylan, Bishop Murphy was vehemently against the proposed veto offered to the British Government in Ireland over the appointment of Irish Bishops in exchange for concessions on the Penal Laws still in force. However, we have it on the authority of no less than Prof. Timothy Corcoran, S.J., that even Bishop Murphy found the vehemence of Father and later Bishop England excessive!

The question of the survival of the Irish Language in Cork is of direct relevance. Bishop Florence McCarthy had been appointed coadjutor to Dr. Moylan in 1803 but died in 1810 without succeeding to the See. It was said at his appointment that Dr. McCarthy did not know Irish but that: "...Irish is not so necessary in Cork and its district." However, when Dr. Murphy was appointed in 1815, he found it necessary to learn Irish: "...without which he could not communicate with his people."

Bishop Murphy is indirectly responsible for the foundation of the Presentation Brothers in his refusal to permit the houses in his Diocese to join the congregation of the Christian Brothers. Although the Cork houses joined the congregation later, the seed of a second sprout was sown by Dr. Murphy's independent line.

Dr. Murphy was responsible for the main fabric of the present North Chapel, the Cathedral of Cork, which was refurbished following a fire in 1820. He was also the first patron of John Hogan, who completed the magnificent apse, which was a veritable riot of statuary. In 1822, Dr. Murphy commissioned 27 statues of Saints and a representation of the Last Supper for the Sanctuary based upon drawings contained in the Bishop's library. They were to be removed, ironically enough, with the body of Dr. Murphy himself, during 'reordering' in 1965. Bishop Murphy's monument, also by Hogan (1853) suffered the same fate - and the oblivion of the rest of the statuary. I should say, however, that the body of Dr. Murphy suffered a kinder fate and was honourably re-interred in St. Finbar's Cemetery!

Bishop Murphy wrote to Hogan: "My dear John, I send you the letter of general recommendation which I promised ... I sincerely wish you good health, a safe journey to Rome and a happy return to your native country ..." In the accompanying letter in Latin, the Bishop wrote: "We think we should commend and do with these presents commended you in the Lord, to all Most Illustrious and most Reverend Lords, Archbishops, Bishops and Clergy and Faithful, who enjoy communion with the Holy See, as one fully known to us, endowed with excellent morals and expecially pious to God, Holy Mother the Church and his parents ..."

What has always interested me most about Dr. Murphy is not his surname, nor that he represents an age when the Murphys ruled the World (or at least large parts of the Church!) - Bishop Timothy Murphy was Bishop of Cloyne and Ross from 1849 (and then just Cloyne from 1850). What interests me is his bibliomania, which was legendary.

An account of one of his many trips to Dublin bookshops relates that he visited the shop of Patrick Kennedy in Anglesey Street: "At last the anxious guardian of past literature is gladdened by the apparition o the gold-headed cane, the silk stockings fitting in the buckled shoes, the waistcoat not innocent of snuff, the loose coat, the broad-brimmed hat, and the kind good natured face under it... If a price was asked which he affected to think was too high, he would stop short, gaze ludiocro-sternly over his spectacles at the culprit and cry out 'Ah? You think to impose on the poor Connaughtman.' He made up the bill as he went along and when he left the shop he left behind him cheerful words and something to meet the rent or the auctioneers bill."

The diaries of Montalembert and Kohl contain descriptions of the Bishop of Cork. Kohl describes his library thus: "The Roman Catholic Bishop of Cork has one of the must interesting collections of books I have ever seen. This learned and industrious man has turned his whole house into a library; not only has he converted his sitting-rooms and dining-room into book-rooms but even in his bedrooms, every available space is filled with books. His attendants, even his maidservants, sleep in little libraries; the staircases are lined with books along the walls and the corridors, which lead from room to room, have full bookcases at their sides; everywhere books are literally piled up, even to the garrets."

As well as books, the Bishop commissioned Gaelic scholars to produce manuscripts for his collection, 120 volumes of which are held in the Russell Library, St. Patrick's College, Maynooth.

The Manuscripts are of particular interest. They include romances, religious and secular poetry, sermons, translations of devotional works, lives of the saints and genealogies. Bishop Murphy was of the generation of the great Eugene O'Curry and had a notable part in the preservation of much Gaelic Irish culture.

Bishop Murphy commissioned numbers of Gaelic scholars to transcribe and copy Irish Manuscripts. Two were Michael Óg O'Longan and his son. Michael Óg came of a great line of Irish scribes. His father Michael had been scribe in residence to the Knight of Glin, but indignantly left that gentleman's service when the Knight conformed to the Protestant religion under the pressure of the Penal Laws and settled at Teampull-geal-na-mona movill, now known as Whitechurch, Co. Cork. In 1836, in his 71st year, Michael Óg composed three quatrains in Bishop Murphy's honour. One of his other poems was the source of 'The Boys of Wexford.'

In the Journal of the Royal Historical anid Archeological Society of Ireland for July, 1882, there appears a translation made by Michael Óg for the amusement of Justin McCarthy of Carrignavar, of Dermot McCarthy's Irish 'Elegy on Lord Mountcashel,' written about 1724 and another translation of his, MacBruodin's Genealogical Poem composed for the O'Keefes, is printed in Cronnelly's Clan Roghan. He also translated the Annals of Innisfallen into English about the year 1831. Joseph, Michael Óg's son, became scribe in residence of the Royal Irish Academy on the death of O'Curry.

One word of interest to those who assert that "alien" Roman devotions imported by Cardinal Cullen drove out Irish spiritual traditions is to be found in the Relatio of Bishop Murphy for 1845 where he finds: "Cork Catholics in general numerous and well-devoted to their religion, " and attributes the peacefulness of the city to the regular attendance of the citizens at just such so-called 'Roman' devotions.

It was Bishop Murphy's dying wish that his library might be preserved and housed in Cork but the 70,000 volumes (save the manuscript collection that found its way to Maynooth) were dispersed to the four winds. It took a full year to complete the auction, many of the books being sold by weight.

'Murphy the younger,' the Archdeacon, after a youthful career of great distinction that would baffle the novelist or film director, was ordained at the age of 48 by his uncle, Bishop Murphy. However, he did not serve in Cork until after the death of his uncle. He was a staunch and zealous pastor in the Irish slums of Liverpool at Copperas Hill, until his was recalled to Cork by Bishop Murphy's successor, Bishop Delaney, as his secretary. He served as Chaplain to the Poor Law Union and the Presentation Convent in Bandon and as Curate at Schull before his appointment to Ss. Peter and Paul's in 1848, where he remained until 1874.

While in that post he was responsible not only for the fine Church of Ss. Peter and Paul but also for the founding of the Mercy Hospital in the former Mansion House, where it is still housed. He became Archdeacon of Cork in 1874 and died at Sunday's Well in 1883. His Requiem Mass was celebrated by Bishop Delaney with the three curates of Ss. Peter and Paul's as deacon, subdeacon and MC - sad to say, not one of them a Murphy!

Saturday, 8 May 2010

St. Colman's Conference III

St. Colman's Society for Catholic Liturgy has announced its third annual conference, upon the theme of "Psallite sapienter: Benedict XVI on Sacred Music" to take place in the Imperial Hotel, Cork City, from 10th to 12th July, 2010. The prospectus for this splendid conference is available here.
As that prospectus puts it, this third conference builds on the two highly successful conferences of 2008 and 2009, dedicated respectively to “Benedict XVI and the Sacred Liturgy” and “Benedict XVI on Sacred Art”. The Acta of the first conference were recently presented to the Holy Father:


The Conference will be opened by HE the Most Reverend Archbishop Raymond Leo Burke, and chaired by Corkman the Reverend Prof. D. Vincent Twomey, S.V.D. The list of speakers is as announced here.

The programme includes Pontifical Vespers followed by an organ recital on Saturday evening, Pontifical High Mass on Sunday morning, and a Solemn High Mass on Monday afternoon, each in the Church of Ss. Peter and Paul, Cork City, close to the conference location.



Bl. Thaddeus McCarthy of Cork, Ross and Cloyne, pray for us!

Tuesday, 23 March 2010

List of Speakers for Fota III

We have been asked by St. Colman's Society for Catholic Liturgy to post the following. We do so with great pleasure:

St. Colman’s Society for Catholic Liturgy is pleased to announce the provisional list of speakers for its third International Liturgy Conference which will be held from 10-12 July 2010. The subject of the Conference is Benedict XVI and Sacred Music.

Further information and registration enquiries should be sent to colman.liturgy@yahoo.co.uk

The Conference will be chaired by Professor D. Vincent Twomey, S.V.D., member of the Ratzinger Schulerkreis, Sursum corda: An Introduction to Ratzinger's Theology of Sacred Music

1. Dr. Andreas Andreopoulos, Unversity of Lampeter, Wales, Music in the Orthodox Liturgy

2. Fr. Sven Leo Conrad of the Fraternity of St. Peter, Germany, Joseph Ratzinger and Johannes Overath: the intellectual connection

3. Don Alberto Domini, professor of Sacred Music at the seminary of Brescia, Italy, Gregorian Chant in the Liturgy according to the mind of Joseph Ratzinger-Benedict XVI

4. Thomas Lacôte of the Conservatoire de Paris, France, Liturgical texts, rites and symbols and contemporary musical creation: an example for the Feast of the Dedication of a Church

5. Fr. Uwe Michael Lang, Cong. Orat., consultor to the office of Pontifical Ceremonies, Rome
Defining Criteria for Sacred Music: from Benedict XIV to Benedict XVI

6. Frank Lawrence of the Department of Music, University College Dublin, Ireland
The Spirit of the Liturgy: Gregorian Chant as mystagogy and exegesis.

7. Kerry McCarthy of Duke University, USA, Listening to William Byrd

8. James McMillan, composer, Scotland, Spirit of the Liturgy: rejoice in tradition and embrace the future.

9. Ite O’Donovan, directress of the Lassus Scholars, Dublin, Ireland, Choral music in the celebration of the Liturgy, a musical heritage of inestimable value, a tradition to be fostered and protected...

10. Fr. Stéphane Quessard of the diocese of Bourges, France, Towards a Renewal of Sacred Music

11. Rev. Samuel F. Weber, O.S.B., founder of theInstitute of Sacred Music, Archdiocese of Saint Louis, U. S.A., Pope Benedict XVI on the Psalms in the Liturgy

Monday, 22 March 2010

Solemn High Mass for the Holy Father’s intentions


We have just been asked to post the following text, which we do with great pleasure.

“St. Colman’s Society for Catholic Liturgy will hold its annual Solemn High Mass, for the Holy Father’s intentions, on Easter Tuesday, 6 April 2010, at Sts. Peter and Paul’s, Cork City, at 11 am.

The proper texts for the Mass will sung in Gregorian by members of the Lassus Scholars, Dublin, under the direction of Miss Ite O’Donovan. The ordinary of the Mass will Orlando de Lassus’ Missa Paschalis with motets for the Easter season. C.M. Widor’s Toccata will also figure among the organ pieces.

Members of St. Colman’s Society are encouraged to attend this Mass which is also open to the general public.

The Society wishes to thank Fr. Patrick McCarthy, Parish Priest of Sts Peter and Paul’s, for having made the use of the church available for this Mass for the Holy Father’s intentions”.

St. Colman Mac Lenine pray for us!

Friday, 26 February 2010

Benedict XVI and the Sacred Liturgy


Benedict XVI and the Sacred Liturgy

Neil J. Roy & Janet E. Rutherford, editors

Benedict XVI and the Sacred Liturgy
is the published proceedings of the first Fota International Liturgical Conference held in Cork, Ireland, in July 2008 and it aims to provide a general overview of some of the more important themes in Benedict XVI’s liturgical writings. It serves as a broad introduction to issues central to Benedict XVI's concern for authentic renewal of Catholic worship, according to the principles set out by the Second Vatican Council, and to his critique of liturgical innovations deviant from those principles. The book explores some of the formative influences on Joseph Ratzinger's liturgical vision and points to the consistent application of those critically assimilated influences over a spectrum of issues facing modern liturgical scholarship: the recovery of the sacred, the cosmic and eschatological dimensions of Christian worship, advocacy of continuity rather than rupture in the liturgical tradition; the need for historical and intellectual honesty in discerning development (as well as in areas such as vernacular translations of the core texts of the Roman Rite); and the renewal of genuine scientific exploration of the sources of the Roman Rite. The book is aimed at a professional and general audience. For the most part, it is easily accessible and plots the map for a series of more specific issues to be dealt with in the Fota Liturgical Conference Series.

Revd Dr Neil J. Roy is visiting assistant Professor, University of Notre Dame, Indiana. Janet E. Rutherford is the hon. Secretary, Patristic Symposium, Maynooth".

Reviews

"The Fota Liturgical series represents an important contribution to the new liturgical movement called for by Joseph Ratzinger as early as 1989. This first volume in the series, Benedict XVI and the Sacred Liturgy, brings together the reflections of liturgical scholars, drawn from North America and Europe, on several of the issues central to that renewal of Christian worship desired by the Second Vatican Council’s constitution on the sacred liturgy, Sacrosanctum Concilium."
Antonio Cardinal Canizares Llovera, Prefect of the Congregation for Divine Worship and the Discipline of the Sacraments

"Long before his ascent to the papacy, Joseph Ratzinger believed that the celebration of the liturgy was not only central to Catholic life, but that liturgical aberrations contributed mightily to post-Conciliar confusion and decline. Benedict XVI and the Scared Liturgy is an excellent starting point for exploring the Holy Father's liturgical vision and concerns as the Church moves to purify and renew the liturgy."
George Cardinal Pell, Archbishop of Sydney

Saturday, 26 September 2009

Fota III International Liturgy Conference

The following Press Release was sent to us yesterday by St. Colman’s Society for Catholic Liturgy:

Following on the two highly successful liturgical conferences held in 2008 and 2009, St Colman’s Society for Catholic Liturgy is pleased to announce that its Third International Liturgy Conference will take place from 10 to 12 July 2010 in Cork and Fota.

The title of the Conference is “Psallite sapienter: Benedict XVI on Sacred Music”. The expression “Psallite sapienter”, literally translated “Sing ye wisely”, is found in Psalm 46 of the Vulgate. According to Joseph Ratzinger, this text synthesises what Sacred Scripture has to say about the kind of music that befits worship. Such music must be in accordance with wisdom, and therefore with reason and, ultimately, with the revealed word that comes from God, with the Word made flesh. In this way, it becomes capable of touching the human heart and raising it to communion with God, as it did in the case of St Augustine: “Greatly did I weep at the beauty of your hymns and canticles, moved deeply by the sweet chants of your Church’s music. The voices flowed into my ears and truth was poured forth into my heart, from which the emotion of my devotion overflowed: tears ran from my eyes and I was blessed in them” (Confessions, IX, 6, 14).

Unfortunately, recent decades have witnessed an impoverishment of liturgical music in many parishes and religious communities. All too often, church music has been reduced to the trivial and the banal, providing a poor substitute for the musical entertainment easily obtainable elsewhere and sadly failing to raise the heart and mind to God. Many factors have contributed to this situation, including an inadequate understanding of the kind of music appropriate to a liturgical setting, the banishment of the Church’s extraordinary heritage of plainchant and polyphony to concerts and recordings, a superficial interpretation of “active participation” which has effectively eliminated specialised choir music in the name of congregational singing, where such exists, and a pastoral pragmatism that has led to the adoption for worship of the mass-produced melodies of popular music.

Mindful of these problems, Joseph Ratzinger has addressed the question of sacred music in various writings, especially in his liturgical trilogy, “The Feast of Faith”, “A New Song for the Lord” and “The Spirit of the Liturgy”. In these he indicates the principles which underlie its historical development, he describes the qualities which should characterise all forms of liturgical music and he proposes a way forward, which is in line with the Church’s musical tradition, while encouraging genuine creativity.

The Society’s Third International Liturgical Conference seeks to promote the ideas advanced in the Holy Father’s writings on liturgical music. It also provides a forum for a younger generation of liturgists and musicians who are presently engaged in the recovery of the Church’s musical heritage for liturgical use or in composing beautiful new and uplifting works of sacred music. An international panel of experts in the fields of theology, liturgy and music – drawn from Ireland, Great Britain, France, Germany, Italy, Australia and the United States of America – will discuss various theological, historical and practical questions relating to sacred music in the Roman Rite.

Following an examination of Joseph Ratzinger’s writings on sacred music, the Conference will consider such issues as the place of the Psalms in the liturgy, the importance of Gregorian chant and polyphony, the Second Vatican Council’s directives on sacred music, the contribution of German musicologist Mgr Johannes Overath and sacred music in the Church today.

The Conference is open to the general public and registration forms can be obtained from the Society at colman.liturgy@yahoo.co.uk or by contacting the Secretary at Leeview, Rushbrooke, Cobh, Co. Cork.

Saturday, 25 July 2009

Fota II - Summary Report

The following Summary of the proceedings of the Second Fota International Liturgy Conference organised by St. Colman’s Society for Catholic Liturgy on 12th and 13th July, 2009, was received recently.

A word is also in order about the superlatively well organised and well executed liturgies in the Gregorian Rite in Ss. Peter and Paul's Church, Cork City, and in Cobh Cathedral during the weekend.

Part of the Te Deum in Ss. Peter and Paul's

The Summary is reproduced here in full:

SUMMARY REPORT

The Second Fota International Liturgy Conference was held in Fota, Co. Cork, from 12 – 13 July 2009 on the topic: “Benedict XVI on Church Art and Architecture”. It was organized by the St Colman’s Society for Catholic Liturgy. His Eminence, George Cardinal Pell, Archbishop of Sydney gave the keynote address.

In his introduction, Prof. D. Vincent Twomey, SVD (Maynooth, Ireland), who chaired conference, decried the iconoclasm that wrought havoc on so many church buildings in the name of the conciliar reform of the liturgy and suggested a number of theological causes. He pointed to the difference between treating beauty as something peripheral, a matter of taste or a decoration, and (following Ratzinger) seeing beauty as being as integral to liturgy as truth and goodness are. The utilitarianism of the age favours the former, as was manifest in the reform. Benedict XVI, on the other hand, is acutely aware of the necessity for reason to combine with aesthetic and intuitive sensibility, both in liturgy and art. Twomey also pointed to the profound theological implications of the reordering of the liturgical space in the wake of the recent liturgical reforms, something that few adverted to at the time. To quote the English philosopher, Roger Scruton: “Changes in the liturgy take on a momentous significance for the believer, for they are changes in his experience of God …” Once such change was the removal of the tabernacle from its former position on the altar to a side-altar. The theory of Francis Rowland, mentioned by Twomey, that the post-conciliar liturgical reforms, with their stress on reducing everything to the essentials, were inspired a kind of neo-Scholasticism that was a historical and a cultural was hotly disputed later in the discussion.

All the papers were inspired by Pope Benedict XVI’s aesthetics, i.e. his understanding of the nature of beauty. This was the topic of the opening paper by Monsignor Joseph Murphy (Rome) and the keynote address by Cardinal Pell. Mons. Murphy’s paper was entitled: “The Fairest and the Formless: The Face of Christ as Criterion for Christian Beauty according to Joseph Ratzinger”. For the Pope, the most persuasive proof of the truth of the Christian message, offsetting everything that may appear negative, “are the saints on the one hand, and the beauty that the faith has generated, on the other”. Hence, for faith to grow today, “we must lead ourselves and the persons we meet to encounter the saints and to come in contact with the beautiful”. After outlining the patristic debate with regard to how Jesus Christ could be said to be beautiful, Murphy describes the way beauty wounds the soul and so awakens man to his higher destiny. The beauty of truth appears in Christ, the beauty of God himself, who powerfully draws us and inflicts on us the wound of Love, as it were, “a holy Eros that enables us to go forth, with and in the Church, his Bride, to meet the Love who calls us.” His beauty is the manifestation of his love, a love poured out for others. Finally, addressing one of Ratzinger’s favourite themes, seeking the face of God, itself one of the primordial themes of Scripture, Murphy points out how seeing Christ is only possible to those who follow Him. As in much else, here Ratzinger takes his inspiration from the Fathers of the Church.

Cardinal Pell, in his paper entitled: “Benedict XVI on Beauty: Issues in the Tradition of Christian Aesthetics” took up several of the themes mentioned by Murphy and developed them. He stress that, for Ratzinger, the truth of love can transform the ugliness of the world – manifested in its extreme on the Cross – into the beauty of the Resurrection. According to Plato beauty is profoundly realistic: it wounds man and so makes him desire the Transcendent. Thus beauty causes a painful longing of the human heart for God. By way of contrast, falsehood suggests that reality is ugly and so promotes either a cult of the ugly or the craving for transient pleasure to escape from the ugliness. Addressing the question of the interaction of the Gospel and culture, Ratzinger argues that the Logos purifies and heals all cultures – and so enables them to achieve their full potential as culture. Though the Hebrew and Greek cultures retain their unique significance for the faith – as the linguistic vehicles of Salvation History – the Gospel itself transcends all cultures. Pell also examined Ratzinger’s theology of music. One of the points he makes is that music is the place where the clash between good and evil is played out at a certain level of society. Ratzinger rejects pop-music, the music equivalent of kitsch, because through it the soul is swallowed up in the senses. Finally, Pell pointed out that, for Ratzinger, there must be a proper understanding of Church, of liturgy, and of music. The Church is not simply the local community but is always Catholic, that is, the whole Church universal, including the cosmic dimension of salvation. Liturgy must be understood as the work of God, not some human fabrication or action. Each rite, therefore, is an objective form of the Church’s worship. And when the languages of Latin, Greek, Hebrew and Aramaic are put to music, they should evoke awe and receptivity for what is beyond sense. Sacred music should be a synthesis of sense, sensibility and sound. Finally, Cardinal Pell stressed that simple, orthodox faith remains the single most important factor in the celebration of the liturgy.

The philosophical implications of the above understanding of beauty were the subject of Fr Daniel Gallagher (Rome) paper: “The Liturgical Consequences of Thomistic Aesthetics: exploring some philosophical aspects of Joseph Ratzinger’s Aesthetics.” Gallagher formulated the basic question as follows: “what has reason to do with beauty”. This led to a discussion of Thomistic aesthetics (is beauty for Thomas a transcendental?) and the subsequent theory of Emmanuel Kant. For Thomas, beauty, though originating in subjective experience, is a form of objective knowledge. Kant sets out to find what he considered to be objective criteria to determine the validity of the subjective experience of beauty. The basic question was resolved with the help of Jacques Maritain (in the Thomist tradition) and in opposition to Umberto Eco (in the Kantian tradition). “Maritain seamlessly connects aesthetic beauty to transcendental beauty, whereas Eco despairs of finding a passage from transcendental beauty to aesthetic beauty.” Gallagher drew out some of the implications of this for liturgy: Beauty is not instrumental, but the very way of experiencing the Triune God in the liturgy. Thus beauty engages the intellect such that God’s Word and life are apprehended in a way that transcends the imparting of information. Most importantly, if beauty is most especially related to the good, then the beauty of the liturgy is directly connected with moral life – and thus concerned with culture as the context for the promotion of virtue. This paper provoked perhaps the most lively discussion of all the papers.

Dr Janet Rutherford (Castelpollard, Co. Westmeath, Ireland) in her paper, “Eastern Iconoclasm and the Defence of Divine Beauty” outlined the turbulent political background to, and profound theological issues at stake in, the first major iconoclastic controversy in the Church, which culminated in the Seventh Ecumenical Council, the Second Council of Nicaea (AD 787). At stake was nothing less than the unity of divine-human nature of Christ as defended above all by St Maximus the Confessor. For the latter, the icon was not a sign of absent realities; the realities themselves were made present to the beholder of the icon. The icons are thus for the believer windows onto eternity. For the East, Second Nicaea is the “orthodox” Council par excellence, an indication not only of their appreciation for the teaching of the Council but also of the centrality of the icon in the life, liturgy, and theology of Easter Christians. According to Maximus, icons, by stressing the humanity of Christ, evoke the possibility of our humanity being divinized, theosis, whereby, according to Rutherford, the Greek notion of theosis is other than the Western notion of divinization. With deft strokes of the brush Rutherford sketched the rich theology of the icon developed by medieval Orthodox theologians such as Nicholas Cabasilas and modern theologians like Paul Evdokimov. These were inspired by the great Fathers of the Church, such as St John of Damascus, who stressed that the Incarnation restored material humanity to its original innocence, and St Germanus, Patriarch of Constantinople, who defended the veneration of images and paid for it by resigning and going into exile to die in obscurity – until his reputation was restored at Second Nicaea. Rutherford eloquently demonstrated what Ratzinger once claimed in one of his writings, when he wrote that, with regard to the liturgy, we have a lot to learn from the East.


Tu Es Petrus at the Mass in Ss. Peter and Paul's

One of the most fascinating papers was delivered by Dr Helen Ratner Dietz (Chicago, Illinois, U.S.A): “The Nuptial Meaning of Classic Church Architecture”. She described how, after Constantine, the Roman basilica was transformed by the inheritance of Judaism. The main influence here reached back to Sinai, which was understood in terms of the bridal covenant between God and Israel. This in turn led to Israel’s expectation that, in the final days, God the Bridegroom would consummate his union with Israel, His Bride. This final consummation was anticipated in the Temple liturgy, which determined the architecture of the Temple of Solomon. There the Holy of Holies was understood in terms of the Bridal Chamber – in imitation of the wedding canopy used in the Jewish wedding ceremonies (as was used up to the Christian Middle Ages). The High Priest represented not only the Bridegroom, but, when he entered the Holy of Holies, the Bride, Israel. The Jerusalem Temple was divided into three, with three sets of steps leading up to the Holy of Holies. The Temple Veil represented this world, or rather the whole of creation, symbolized by the colours of the elements (white, blue, red and purple), which also have bridal significance. These colours were likewise those of external vestments of the High Priest who represented Israel’s God, the Creator of heaven and earth. The Holy of Holies was a perfect cube, symbol of the spiritual world, the heavens above the heavens. As in the Jewish tradition, the bridegroom takes on the vulnerability of the bride to protect her from the dangers inherent in child-bearing (and is vested accordingly), the High Priest, divesting himself of his glorious vestments and clad in a simply linen tunic, takes on the vulnerability of the Bride Israel when he entered the Holy of Holies once a year on Yom Kippur (cf. Is 61:10).. Christ called himself the Bridegroom and so claimed to be the High Priest. What is less noticed is that, when he took on the vulnerability of humanity in the incarnation, he identified Himself with the Bride when he into the Temple not made of human hands through his Death on the Cross. Dietz stressed that for the Jewish – and later the Christian – tradition God is totally hetero, other, and Israel is hetero to God. Only in this way, can we understand the “role-exchange” between bridegroom and bride that is characteristic of both Jewish nuptial ceremonies and the Temple liturgy. The form of Christian church-buildings was profoundly shaped by this Jewish tradition, which itself was rooted in the pagan Semitic traditions of the ancient Near East. The Church took over the tripartite division of the Temple and, in the place of the Holy of Holies, the wedding canopy or baldachin over the altar that, like the nuptial chamber, was surrounded by curtains that were only opened to reveal the elevated Host and Chalice. Like the Temple it faced east, but now with a new meaning: the rising sun represented the return of the Bridegroom in glory at the end of time for the final consummation now anticipated each time the Sacrifice of the Mass is celebrated on the altar.

Perhaps one of the most radical changes in the liturgy after the Council – though not recommended, or even mentioned, by Sacrosanctum concilium – was the change in the position of the celebrant, who now faces the congregation, instead of facing East with the congregation. Facing East was the common practice (with some notable exceptions, such as St Peter’s in Rome due to space problems caused by building the Constantinian basilica over the tomb of Peter) at least since the second century. Christian worship was in the direction of the Rising Sun and no longer in the direction of the Jerusalem Temple, as in the Jewish synagogue. This was a central topic taken up Dr Michael Uwe Lang, Cong. Or., in his paper entitled: “Louis Bouyer and Church Architecture: Resourcing Benedict XVI’s Introduction to the Spirit of the Liturgy”. Lang showed both the indebtedness of Ratzinger to Bouyer but also the selective use the former made of the latter by avoiding Bouyer’s more controversial and polemical points. Lang showed how Ratzinger took up and developed Bouyer’s insight into the cosmic and eschatological significance of the liturgical call after the liturgy of the Word around the bema (a raised platform for the liturgy of the Word in the centre of the basilica): “Conversi ad orientem”. Moving to the altar in the apse, priest and people faced the East, acknowledging the cosmic dimension of Christian worship. But in the first place, the rising sun symbolizes the final Return of the Risen Lord now anticipated in the Sacrifice of the Mass. Lang pointed out that celebrating the Sacrifice facing the people tends to eclipse the transcendental dimension of the liturgy. God tends to be absorbed into the community whereas in facing East what is expressed is the dialogue between the People of God and God Himself. Further, the sacrificial character of the Mass tends to be downplayed while the Mass tends to be seen primarily as a sacred banquet. In the discussion, the Chair pointed out that, according to the English anthropologist, Mary Douglas, in her book, Natural Symbols, one of the reasons why this radical change found immediate acceptance was because it found a resonance in the contemporary culture which, in terms of the different categories of cultural expression, has a close affinity to the culture of nomads, for whom the focus of their gatherings is the fire. Huddled around the fire, they find comfort from the darkness and alienation of the surrounding world.

Dr Alcuin Reid (London, England) read a though-provoking paper entitled “Noble Simplicity Revisited” on one of the central recommendation of the Sacrosanctum concilium for the reform of the liturgy (SC 34). He traced the origins of the term “noble simplicity” back to Edmund Bishop (1899) who described the genius of the Roman Rite in terms of sobriety, simplicity and austerity. This was further developed by Dr Adrian Fortescue (1912), though modified significantly in 1945, by the Anglican Dom Gregory Dix. According to the latter, there was no squalor in the pre-Nicene liturgy (as we know from Eusebius), which in fact was marked dignity and splendour. Reid concludes that there was “noble simplicity” should not be understood as distaste for ritual itself or its later embellishments. Though some liturgist called for “a certain spiritual unction” in the Rites, the reference to the didactic and pastoral nature of the liturgy became one of the central preoccupations of the Bugnini Commission, which was primarily concerned with the principle of what Reid claims was the translation of participatio actuosa as “active participation” instead of “actual participation”. The latter implies interiority and promotes contemplation. In this context, “noble simplicity”, which is a practical policy and not a dogmatic statement (and thus open to disagreement), takes on a rather more radical meaning that that perhaps originally intended. Is this principle not in need of a critical reappraisal? According to McManus, the principle should be evangelical and not render the liturgy banal. Unfortunately, some, perhaps influenced by Jungmann’s theory of the corruption of the liturgical tradition and his distinction between the essentials and the non-essentials, understand “noble simplicity” to mean a rupture with tradition. Thus a new Puritanism arose (K. Flanagan). The irony is that the reforms satisfied none of the constituents which the reforms were supposed to appeal to (youth, educated, etc.), who find the liturgy mostly boring. Katherine Pipstock and David Torvelle have produced trenchant criticisms of the reforms. Interestingly, Sacramentum caritatis does not even mention the terms “noble simplicity”. The main question today is; to what extent do the rites contribute to the true “actual participation” of the faithful in worship.

Mr Ethan Anthony (Boston, USA), a practicing church architect in the tradition established by Ralph Adams Cram (1889-1942), gave an illustrated talk on the topic: “The Third Revival: New Gothic and Romanesque Catholic Architecture in North America”. Cram’s basic policy as an architect was summed up in his statement: “I want people who come into church to be taken out of themselves”. For him, beauty is a manifestation of the divine. We simply need beauty to be human. However, as in all art so too with architecture, inspiration can only be received not fabricated. “We need architects who see though the eyes of faith”. According to Anthony, the First Revival was inspired by Newman and Pugin. The Second was under the influence of Willam Morris and the Arts and Crafts Movement. Under the influence of Gropius and the Bauhaus movement that flourished in the Weimar Republic and came to the USA from 1939, there was a period in the 1950s in the suburban Catholic Church when concrete-block churches became fashionable. The Third Revival began with work on the restoration of older churches, which in turn required the re-learning of older skills more akin to the building of the medieval churches. Soon congregations wanted new churches built in the older style, a more distinctly sacral style than found in the modern buildings. The question was raised: could we build churches in the traditional styles, where faith was expressed through the medium of stone and glass. In dialogue with the pastors and their congregations, architects began to design new church buildings under the inspiration of those medieval masterpieces scattered around Europe and using new materials that were both cost-effective and, in terms of design, modern. Anthony’s power-point presentation of many of these magnificent churches of the Third Revival captivated the audience.

In another fascinating power-point presentation, Professor Duncan G. Stroik (Notre Dame, USA) addressed the topic “All the great works of art are a manifestation of God: Pope Benedict XVI and the Architecture of Beauty”. Stroik used the magnificent church buildings of Bavaria that formed the background to Ratzinger’s theory of beauty and gave it its existential depth. Here in particular the meaning of the Baroque period was made accessible to an audience that has little experience of that style – and indeed are often rather sceptical of its value.

All of the papers highlighted new aspects of the theme. However the final paper was the most surprising of all. Dr Neil J. Roy (Peterborough, Canada) discussed the topic “The Galilee Chapel: A Medieval Notion Comes of Age”, which certainly opened up new vistas for the participants. The Galilee Chapel has its origins in the Cluniac monasteries, where it formed the place where processions started in memory of the beginning of the public ministry of Our Lord in Galilee. From thence, the procession moved to Jerusalem, the sanctuary area. Using Durham’s monastic Cathedral as his starting point, Roy described the development of the Galilee Chapel, in particular in Cluny, before making some important suggestions about restoring the institution – and with it the baptistery – to the front of the church and decorating it with suitable motives. With this paper, the conference looked to the future and the possibility if innovation based on the inspiration taken from the Cluniac tradition.

Saturday, 23 May 2009

Fota II International Liturgy Conference

We are happy to inform you of the following:

St. Colman’s Society for Catholic Liturgy will host the second international liturgy conference at the Sheraton Hotel, Fota, Co. Cork on 12-13 July 2009. The conference is entitled Benedict XVI on Sacred Art and Architecture. It will explore the theological, philosophical and historical background of the principles of Christian art and architecture as presented in the writings of Joseph Ratzinger –especially in his Introduction to the Spirit of the Liturgy and his Feast of Faith. The international conference will also be addressed by architects Prof. Duncan Stroik of Notre Dame University and Mr. Ethan Anthony of the prestigious Boston firm of architects Cram Ferguson. Both will explore the application of Joseph Ratzinger’s writings on church art and architecture in the context of building and decorating beautiful churches in the post Vatican II context.

The key note address will be made by His Eminence Cardinal George Pell, Archbishop of Sydney. He will present a comprehensive overview of the Pope Benedict’s writings on beauty in the context of the liturgy and Christian worship while emphasizing that beauty must necessarily be part of the liturgy is something of the glory of God is to be transmitted to man.

Professor Vincent Twomey, SVD, will chair the conference.

The theological, philosophical and historical background to Joseph Ratzinger’s thought on beauty in the liturgy will be explored in a series of papers presented by Dr. Joseph Murphy (St. Augustine’s theory of beauty), Fr. Daniel Gallagher (the aesthetics of St. Thomas Aquinas), Dr. Janeth Rutherford (Eastern Iconoclasm), Dr. Alcuin Reid (on Noble Simplicity), Fr. U. M. Lang (on Louis Bouyer) and Dr Helen Dietz.

The question of the practical application of Ratzinger’s principles of Christian art and architecture will be addressed by Prof. Duncan Stroik, Notre Dame University, and by Mr. Anthony Ethan of the architectural firm of Cram Ferguson.

Prof. Duncan Stroik is one of the leading exponents of neo classical architecture in the United States and has been to the forefront in promoting the principles of classical architecture in contemporary church building. Stroik’s architectural practice grows out of a commitment to the principles of classical architecture and humane urbanism. He is considered to be one of the foremost educators and practitioners in Catholic architecture. It is Stroik’s belief that a revival of sacred architecture is central to any true renaissance of architecture and civil society. Two primary examples of Stroik’s work can be seen in the Shrine of Our Lady of Guadalupe at La Crosse, Wisconsin and in the Chapel of Our Lady of the Holy Trinity at Aquinas College, Santa Paola, California.


Mr. Ethan Anthony is principal partner in the prestigious Boston firm of architects HDB/Cram and Ferguson whose speciality is the design and construction of traditional religious architecture and the design of religious interiors. The company has been to the forefront of religious architecture in the United States for more than 120 years. Ethan Anthony is a primary exponent of the architectural principles of the neo-Gothic and Romanesque. He has designed numerous new traditional churches and interiors and has gained a national reputation for his work in liturgical architecture. Primary examples of his work would include Syon Abbey, Cooper Hill, Virginia and Our Lady of Walsingham, Houston, Texas.

Registration for the Conference is now open and may be made on line at http://www.scscliturgy.com/, by e-mailing St. Colman’s Society at colman.liturgy@yahoo.co.uk or by contacting the Secretary at [00353] 021 4813445.

Wednesday, 11 March 2009

Saint Colman's Society for Catholic Liturgy

Saint Colman's Society for Catholic Liturgy, established in 2007, organisers of an excellent International Liturgical Conference last July, have launched a new website.

Their first International Liturgical Conference had the theme: Benedict XVI and The Sacred Liturgy. In their own words: "St. Colman’s Society for Catholic Liturgy encourages and promotes among its members full active and conscious participation in Catholic Liturgy in accordance with the authentic tradition of the Church especially as expressed in Sacrosanctum Concilium and subsequent liturgical legislation."

The Felire of St. Aengus names two Sts. Colman on 24th November. He of Cloyne is Colman MacLenine. He is described thus:

Mac Lenine the most excellent
With Colman of Duth-chuilleann.

O'Cleary's Calendar gives the following entry for St. Colman for 24th November: "Colman Mac Lenine of Cluain Uamahd in Ui Leathan in Munster of the race of Oilioll Olum son of Mogha Nuadhat or of the race of Lughaidh Lagha his brother was this Colman."

The great Irish Ecclesiastical historian Colgan cites St. Colman's Latin style in the metrical life of St. Senan: "Hujus vitae fragmentum stylo vetusto et pereleganti Patrie sermone conscriptae habitur in predicto Codice Vitae S Sinani Domini Gulielmi Derodani in Lagenia." A Latin poem on St. Brendan is also attributed to St. Colman.

St. Colman's Society for Catholic Liturgy are to be congratulated upon their new website. All Catholics are to be encouraged to take a greater interest in their activities. St. Conleth's Catholic Heritage Association wishes them the choicest blessings for the future.

St. Colman of Cloyne, pray for us!