Lent IV

As Lent turns into Passiontide, the Catholic mind turns more intensely to thoughts of the Cross, to Christ Crucified and to His Sorrowing Mother. The hymn Stabat Mater Dolorosa sets this theme.

It is ascribed popularly to the Franciscan Jacopone di Todi, but is also ascribed by Pope Benedict XIV, with a wealth of scholarship, to Pope Innocent III. It was only in the year 1727 that it entered the Roman Liturgy, being assigned to the feast of the Seven Dolours of Our Lady, on the Friday after Passion Sunday (and before Palm Sunday!).

I have searched in vain for the chant version, so familiar from traditional renditions of the Stations of the Cross. This happy fault forces us to look at the rich inspiriation that the Church's Liturgy has provided for composers of every age.

First in time, of the three examples here is that of Fr. Antonio Vivaldi, composed about 1727, the same year that it was introduced to the Roman Missal, probably for the girls of the Pio Ospedale della Pieta, or State Orphanage of Venice, where he had been on the staff until 1711. The composition is divided into eight sections. The melodies of sections 1 to 3 are repeated in sections 4 to 6. Only the first 10 stanzas of the hymn are used.

The second is the Stabat Mater of the short-lived Giovanni Battista Pergolesi composed in 1736. The German poet German poet Tieck once wrote: "I had to turn away to hide my tears, especially at the place, 'Vidit suum dulcem natum'" in speaking of this setting. The melodies have given rise to some criticism because they were thought to be too cheerful. Of particular note is the line: 'dum e-mi-sit' in that it is marked to be sung intermittently to create a musical picture of the last breaths of Our Lord on the Cross. This device has been copied by other composers.

Finally, we will consider the Stabat Mater of Giacomo Rossini, written in 1832 and revised in 1841. The composition was not intended for liturgical use. It is essentially a performance piece. However, despite the obvious operatic tendencies, this seems not to have been Rossini's intention. Writing of his Petite Messe, he says that his sacred works come of a real religious feeling: "Here it is then, this poor little Mass. Have I written truly sacred music, or just bad music? I was born for opera buffa, as you well know. Not much skill, but quite a bit of feeling - that's how I'd sum it up. Blessed be Thy name, and grant me a place in Paradise".

While the sensuality of the composition has often been regarded as unsuitable for the sanctity of the theme, Rossini's defenders, who included Fr. Taunton, one of Cardinal Manning's Oblates of St. Charles, have said: "critics who judge it harshly, and dilettanti who can listen to it unmoved . . . must either be case-hardened by pedantry, or destitute of all 'ear for music'".

Mother of Sorrows, pray for us!

White Scapular of the Most Blessed Trinity

An angel clad in white with a cross on its breast, is believed to have appeared to Innocent III who scantioned the foundation of the Order of the Trinitarians on 28th January, 1198. The scapular of the Confraternity of the Most Blessed Trinity, enjoying indulgences approved by decree of the Congregation of Indulgences on 12th August, 1899, is white with blue and red cross on its front protion, the longditudinal shaft of which is in red, and is ow wollen cloth. In order to obtain the indulgences of the scapular must be worn consistently. It may be blessed and invested by priests who have received the faculty from the General of the Trinitarians.

Holy Trinity, one God, have mercy on us!

Venerable Pope Pius XII

Today, the 19th of December, 2009, the Holy Father, Benedict XVI, has received in private audience His Excellency, Archbishop Angelo Amato, Prefect of the Congregation for the Causes of Saints. In the course of that audience, the Holy Father has authorised the Congregation to promulgate the decree recognising the heroic virtue of Pope Pius XII and declaring him to be Venerable.

In the modern era, the process of Canonization, of which the decree of heroic virtue is the first step, was firmly established by the Decrees of Pope Urban VIII and Pope Clement XI. By a Bull of 5th July, 1634, Urban VIII definitively reserved to the Holy See the faculty of granting cultus to individuals and prohibited their veneration prior to the judgement of the Holy See.

It had previously been the practice, despite, it must be said, a Decree of Pope Alexander III in 1170, renewed by Pope Innocent III in 1210, for Bishops to render people Blessed at least to be honoured in their own Dioceses, although it was for the Pope to extend such devotion to the Universal Church, which is, to render them Saints in the technical sense. However, the Pope could also make localised Decrees in some cases. For example Blessed (now Saint) Rose of Lima, who Pope Clement declared to be patroness of Peru, and Pope Clement X declared to be patroness of South America, the Philippines and the East Indies, and also Blessed (now Saint) Stanislaus Kostka, who Pope Clement X declared patron of Poland and Lithuania.

Special mention must be made of the monograph of one Prospero Lambertini "the cleverst man in Christendom," once Promoter of the Faith, an official of the S. Congregation of Rites, who would later become Pope Benedict XIV. The monograph was entitled De Servorum Dei Beatificatione et Beatorum Canonizatione and for more than two centuries remained - and to an extent remains - the basic text on the subject. The two examples of Rose of Lima and Stanislaus Kostka are mentioned at lib. I, cap. xxxix of that monograph. Two early editions (1743 and 1749) are available at Google Books. (See if you can spot the reference to vampires when Lambertini discusses the post mortem state!)

The document relating new procedures introduced by Pope Benedict XVI gives a summary of the history of the procedures involved.

Venerable Pope Pius XII, pray for us!