Cleansing Fire

Defending Truth and Tradition in the Lay-Run Roman Catholic Diocese of Rochester

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Images in the Chancel ! (Part 2)

July 31st, 2010, Promulgated by Bernie
Previously: Part 1

"Greek Orthodox Church of the Holy Spirit", Mt. Hope Avenue, Rochester, NY

This is a local Greek Orthodox Church that is actually a renovated Baptist Church. The Eastern Churches (Orthodox and Eastern Rite Catholic) are serious when it comes to the use of images in the chancel -or bema- area. As I have mentioned before, the Eastern Churches have a canon of liturgical decoration that is nearly always followed. We Roman (or Latin Rite) Catholics do not have any such canon.

Let’s start our survey of appropriate images for use in the chancel area with this Greek Orthodox example. This gives us a peek at the basic canon used by the Orthodox and Eastern Rite Catholic Churches.

The iconostasis screen is the wall of icons  that symbolizes the point at which heaven and earth meet; a boundary of sorts between heaven and earth. The central doors are called the Royal Doors (or Holy Doors or Beautiful Gates). The Annunciation is usually depicted on them but sometimes it is the four evangelists, or both. The first icon to the right of the doors is always a representation of Christ. It is in front of this icon that confessions are heard. The icon to the left of the doors is always of the Theotokos. Filling out the iconostasis to the right and left are St. John the Baptist next, after Christ, and then patron saints or other saints important to the local Church.  There are two other doors in the screen, one on each side, called deacon doors (or the north and south doors). Deacon Saints Stephen and Lawrence or Archangels Michael and Gabriel are usually depicted on those doors.

Above the central door is displayed the Mystical Supper icon and above that an icon (the Deesis) with Christ in the center, Mary on the left and St. John the Baptist on the right. Both point to Christ. To either side of the Mystical Supper are depicted the twelve Feasts of the Liturgical year.

If the doors are open you will see an icon of the crucifixion (in some churches) on the wall to the far side of the altar (all Eastern Rite Churches utilize free-standing square/cubic altars). Finally, high on the back wall, or in the half dome ceiling if there is an apse, you can usually see a large image of the Virgin of the Sign (or Virgin Platytera); this image calls to mind the Incarnation and Mary’s role as intercessor. Sometimes the image is of Christ Pantokrator (Almighty Ruler of the Universe or Christ in Majesty as it is depicted in Eastern Rite Catholic churches).

If there are other tiers on the screen they will depict the patriarchs, prophets and apostles.

That is a very basic description of the distribution of images in the Eastern canon of Liturgical imagery. Why those images are situated where there are is, of course, very important and quite interesting but, alas, there is no room here to get into all that. Maybe we can do that in the future in separate short posts. I just wanted to give anyone not familiar with the Eastern canon a quick look at who, and what, goes where.

Some Local Websites:

Greek Orthodox Church of the Holy Spirit, Mt. Hope Avenue, Rochester. Greek Fest 2010 is August 26 – 28 at the church location. They have tours and explanations of the church during the festival days.

St. Josaphat’s Ukranian Catholic Church , Ridge Road, Irondequoit. This site has a ton of pictures of parish life. Among them are many pictures of the interior of the church showing the chancel or bema area during Liturgical celebrations. Unfortunately I couldn’t capture any of them to show you here. They will have tours of the church during the Ukranian Festival 2010 August 12 – 15.

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Colloquium in Review (Part II)

July 31st, 2010, Promulgated by Gen

Another masterful video from the folks at Corpus Christi Watershed.

Sacred Music Colloquium XX from Corpus Christi Watershed on Vimeo.

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23 Reasons Why Priests Ought to Wear Their Collars in Public

July 30th, 2010, Promulgated by Gen
By Msgr. Charles M. Mangan & Father Gerald E. Murray
1. The Roman collar is a sign of priestly consecration to the Lord. As a wedding ring distinguishes husband and wife and symbolizes the union they enjoy, so the Roman collar identifies bishops and priests (and often deacons and seminarians) and manifests their proximity to the Divine Master by virtue of their free consent to the ordained ministry to which they have been (or may be) called.
2. By wearing clerical clothing and not possessing excess clothes, the priest demonstrates adherence to the Lord’s example of material poverty. The priest does not choose his clothes – the Church has, thanks to her accumulated wisdom over the past two millennia. Humble acceptance of the Church’s desire that the priest wear the Roman collar illustrates a healthy submission to authority and conformity to the will of Christ as expressed through his Church.
3. Church Law requires clerics to wear clerical clothing. We have cited above number 66 of the Directory for priests, which itself quotes canon 284.
4. The wearing of the Roman collar is the repeated, ardent desire of Pope John Paul II. The Holy Father’s wish in this regard cannot be summarily dismissed; he speaks with a special charism. He frequently reminds priests of the value of wearing the Roman collar.In a September 8, 1982 letter to Ugo Cardinal Poletti, his Vicar for the Diocese of Rome, instructing him to promulgate norms concerning the use of the Roman collar and religious habit, the Pontiff observed that clerical dress is valuable “not only because it contributes to the propriety of the priest in his external behavior or in the exercise of his ministry, but above all because it gives evidence within the ecclesiastical community of the public witness that each priest is held to give of his own identity and special belonging to God.”In a homily on November 8, 1982 the Pope addressed a group of transitional deacons whom he was about to ordain to the priesthood. He said that if they tried to be just like everyone else in their “style of life” and “manner of dress,” then their mission as priests of Jesus Christ would not be fully realized.5. The Roman collar prevents “mixed messages”; other people will recognize the priest’s intentions when he finds himself in what might appear to be compromising circumstances. Let’s suppose that a priest is required to make pastoral visits to different apartment houses in an area where drug dealing or prostitution is prevalent. The Roman collar sends a clear message to everyone that the priest has come to minister to the sick and needy in Christ’s name. Idle speculation might be triggered by a priest known to neighborhood residents visiting various apartment houses dressed as a layman.

6. The Roman collar inspires others to avoid immodesty in dress, words and actions and reminds them of the need for public decorum. A cheerful but diligent and serious priest can compel others to take stock of the manner in which they conduct themselves. The Roman collar serves as a necessary challenge to an age drowning in impurity, exhibited by suggestive dress, blasphemous speech and scandalous actions.
7. The Roman collar is a protection for one’s vocation when dealing with young, attractive women. A priest out of his collar (and, naturally, not wearing a wedding ring) can appear to be an attractive target for the affections of an unmarried woman looking for a husband, or for a married woman tempted to infidelity.
8. The Roman collar offers a kind of “safeguard “for oneself. The Roman collar provides a reminder to the priest himself of his mission and identity: to witness to Jesus Christ, the Great High Priest, as one of his brother-priests.
9. A priest in a Roman collar is an inspiration to others who think: “Here is a modern disciple of Jesus.” The Roman collar speaks of the possibility of making a sincere, lasting commitment to God. Believers of diverse ages, nationalities and temperaments will note the virtuous, other-centered life of the man who gladly and proudly wears the garb of a Catholic priest, and perhaps will realize that they too can consecrate themselves anew, or for the first time, to the loving Good Shepherd.
10. The Roman collar is a source of beneficial intrigue to non-Catholics. Most non- Catholics do not have experience with ministers who wear clerical garb. Therefore, Catholic priests by virtue of their dress can cause them to reflect – even if only a cursory fashion – on the Church and what she entails.
11. A priest dressed as the Church wants is a reminder of God and of the sacred. The prevailing secular morass is not kind to images which connote the Almighty, the Church, etc. When one wears the Roman collar, the hearts and minds of others are refreshingly raised to the “Higher Being” who is usually relegated to a tiny footnote in the agenda of contemporary culture.
12. The Roman collar is also a reminder to the priest that he is “never not a priest.” With so much confusion prevalent today, the Roman collar can help the priest avoid internal doubt as to who he is. Two wardrobes can easily lead – and often does – to two lifestyles, or even two personalities.
13. A priest in a Roman collar is a walking vocation message. The sight of a cheerful, happy priest confidently walking down the street can be a magnet drawing young men to consider the possibility that God is calling them to the priesthood. God does the calling; the priest is simply a visible sign God will use to draw men unto himself.
14. The Roman collar makes the priest available for the Sacraments, especially Confession and the Anointing of the Sick, and for crisis situations. Because the Roman collar gives instant recognition, priests who wear it make themselves more apt to be approached, particularly when seriously needed. The authors can testify to being asked for the Sacraments and summoned for assistance in airports, crowded cities and isolated villages because they were immediately recognized as Catholic priests.
15. The Roman collar is a sign that the priest is striving to become holy by living out his vocation always. It is a sacrifice to make oneself constantly available to souls by being publicly identifiable as a priest, but a sacrifice pleasing to Our Divine Lord. We are reminded of how the people came to him, and how he never turned them away. There are so many people who will benefit by our sacrifice of striving to be holy priests without interruption.
16. The Roman collar serves as a reminder to “alienated” Catholics not to forget their irregular situation and their responsibilities to the Lord. The priest is a witness – for good or ill – to Christ and his Holy Church. When a “fallen-away” sees a priest, he is encouraged to recall that the Church continues to exist. A cheerful priest provides a salutary reminder of the Church.
17. The wearing of clerical clothing is a sacrifice at times, especially in hot weather. The best mortifications are the ones we do not look for. Putting up with the discomforts of heat and humidity can be a wonderful reparation for our own sins, and a means of obtaining graces for our parishioners.
18. The Roman collar serves as a “sign of contradiction” to a world lost in sin and rebellion against the Creator. The Roman collar makes a powerful statement: the priest as an alter Christus has accepted the Redeemer’s mandate to take the Gospel into the public square, regardless of personal cost.
19. The Roman collar helps priests to avoid the on duty/off duty mentality of priestly service. The numbers 24 and 7 should be our special numbers: we are priests 24 hours a day, 7 days a week. We are priests, not men who engage in the “priest profession.” On or off duty, we should be available to whomever God may send our way. The “lost sheep” do not make appointments.
20. The “officers” in Christ’s army should be identifiable as such. Traditionally, we have remarked that those who receive the Sacrament of Confirmation become “soldiers” of Christ, adult Catholics ready and willing to defend his name and his Church. Those who are ordained as deacons, priests and bishops must also be prepared – whatever the stakes – to shepherd the flock of the Lord. Those priests who wear the Roman collar show forth their role unmistakably as leaders in the Church.
21. The saints have never approved of a lackadaisical approach concerning priestly vesture. For example, Saint Alphonsus Liguori (1696-1787), Patron Saint of Moral Theologians and Confessors, in his esteemed treatise The Dignity and Duties of the Priest, urges the wearing of the appropriate clerical dress, asserting that the Roman collar helps both priest and faithful to recall the sublime splendor of the sacerdotal state instituted by the God-Man.
22. Most Catholics expect their priests to dress accordingly. Priests have long provided a great measure of comfort and security to their people. As youths, Catholics are taught that the priest is God’s representative – someone they can trust. Hence, the People of God want to know who these representatives are and what they stand for. The cherished custom of wearing distinguishable dress has been for centuries sanctioned by the Church; it is not an arbitrary imposition. Catholics expect their priests to dress as priests and to behave in harmony with Church teaching and practice. As we have painfully observed over the last few years, the faithful are especially bothered and harmed when priests defy the legitimate authority of the Church, and teach and act in inappropriate and even sinful ways.

23. Your life is not your own; you belong to God in a special way, you are sent out to serve him with your life. When we wake each morning, we should turn our thoughts to our loving God, and ask for the grace to serve him well that day. We remind ourselves of our status as His chosen servants by putting on the attire that proclaims for all to see that God is still working in this world through the ministry of poor and sinful men.?

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Lectio Divina – 2 Timothy

July 30th, 2010, Promulgated by Gen

I thought that this would be a gentle, prayerful way to begin your weekend. A little bit of Lectio Divina in the morning is always a good thing.

I charge you, before God and Jesus Christ, who shall judge the living and the dead, by his coming and his kingdom: 2 Preach the word: be instant in season, out of season: reprove, entreat, rebuke in all patience and doctrine. 3 For there shall be a time when they will not endure sound doctrine but, according to their own desires, they will heap to themselves teachers having itching ears: 4 And will indeed turn away their hearing from the truth, but will be turned unto fables. 5 But be vigilant, labour in all things, do the work of an evangelist, fulfil your ministry. Be sober. 6 For I am even now ready to be sacrificed: and the time of my dissolution is at hand. 7 I have fought a good fight: I have finished my course: I have kept the faith. 8 As to the rest, there is laid up for me a crown of justice which the Lord the just judge will render to me in that day: and not only to me, but to them also that love his coming. Make haste to come to me quickly. 16 At my first answer, no man stood with me: but all forsook me. May it not be laid to their charge! 17 But the Lord stood by me and strengthened me, that by me the preaching may be accomplished and that all the Gentiles may hear. And I was delivered out of the mouth of the lion. 18 The Lord has delivered me from every evil work and will preserve me unto his heavenly kingdom. To whom be glory for ever and ever. Amen.


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The “uncharitable” Khludov Psalter

July 30th, 2010, Promulgated by Bernie

"Khludov Psalter" (folio 67r), 9th century, Moscow Museum

Detail from "Khludov Psalter" folio 67r

Cleansing Fire gets criticism for being uncharitable because it’s, well, critical. I’d like to call your attention to a page from the Khludov Psalter that pulled no punches when it came to criticizing the heretical polices of Church officials in the 9th century. 

This illuminated psalter is one of only three Byzantine ones to have survived from the 9th century and is said to have been created “clandestinely” (read anonymously) by those opposed to the official iconoclastic polices -the destruction and banning of images in churches- of the imperial and Church authorities in Constantinople. It includes some illuminations in the margins that are critical of the iconoclasts. On some pages little arrows connect certain verses with parts of the illustrations in order to specify analogies. On this particular page the illuminator illustrated the line “They gave me gall to eat; and when I was thirsty they gave me vinegar to drink” with a picture of a soldier offering Christ vinegar on a sponge attached to a pole. But, in the bottom margin of the page he has depicted the last iconoclast Patriarch of Constantinople, John the Grammarian, whitewashing over an icon of Christ with a similar sponge on a pole as the one used by the soldier. The analogy is clear between iconoclasts who whitewashed paintings and mosaics, and the soldiers who tormented Christ. The hair style the artist has given the patriarch on this page and the others in the psalter consists of straight hair sticking out in all directions. Such a hairdo was considered rediculous by sophisticated Byzantines.
I suppose this psalter was something like the Cleansing Fire of its day created by the self-appointed guardians of orthodoxy.

  

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Reinstated

July 29th, 2010, Promulgated by Nerina

You may remember the story of Dr. Kenneth Howell who was fired from his adjunct professorship at the University of Illinois for teaching the Church’s view on homosexuality (in an Introduction to Catholicism course).  He was reinstated today.

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Holy Cross Festival opens tonight

July 29th, 2010, Promulgated by Mike

The Holy Cross Festival in Charlotte will be up and running at 6:00 pm tonight.

There are rides for all ages, the food is great and there are even a few games of chance for those so inclined.

Some photos from last year’s Festival (click on the first one to view without distortion) …

UPDATE: Here’s a video of the 2010 Holy Cross Festival …

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Margaritaville Christianity

July 29th, 2010, Promulgated by Mike

I’ve written about Dave Hartline before (see here and here).  He has a new post up on The American Catholic entitled “Margaritaville Christianity; God’s Way Or Our Way?”

Here’s a quote to whet your appetite …

Far too many orthodox-minded Catholics have had to put up with “Father Cool,” the well tanned, world travelling pastor who might know more about Club Med than he does the Bible or the Catechism.  He loves to “relate” to his parish and his sermons sound as if he wants to be one of the guys, as if he he’s auditioning for a spot on some sort of Cheers TV show remake. His church is bereft of statues and symbols of Catholic devotions, which of course he would find hard to explain to his secular or Protestant clergy friends.

And another one …

Fortunately, there is good news and as I point out in my book The Tide is Turning Toward Catholicism, the numbers show things are coming around our way.  As I noted to you before, all of this is made manifest in ordination numbers.

One last quote …

While liberal convents are strapped for cash because they haven’t had a postulant in years, more conservative orders like the Sister of Mary in Ann Arbor, Michigan are running out of room due to the large number of young professional women coming their way. They are not the only conservative order growing; the Nashville Dominicans among others are also experiencing growing pains.

Full post here.


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“But Chant’s Too Hard . . . “

July 29th, 2010, Promulgated by Gen

That’s what you get from most priests and lay administrators when you ask them, “Why don’t we do more chant? It’s what the Council called for, after all.” I really don’t understand what’s harder about Gregorian Chant than any piece they use by Haugen. Is it the Latin? Well, if so, my reply would be this: Even a baby can do it.

And that’s no exaggeration – watch this three-year-old sing the Sanctus. If it weren’t so early, I’d make a comparison between liberals and babies, but I lack the awakeness to do that – you can form your own metaphor based off of my sentiments.

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Mother of God Icon The Virgin Platytera

July 28th, 2010, Promulgated by Bernie

Previously in this series: here

Virgin Orans Great Panagia*

ca.1224, Tretyakov Gallery, Moscow

“For he who before all time radiated from the Father, the only begotten Son, it was he who was born of you O Pure One, and miraculously became flesh. He who by nature is God, also by nature became man for our sake.”**

This Marian icon type is a version of the Kyriotissa type, its reference being the Incarnation. Platytera means “spacious” or “wider than” and, of course, refers to the fact that Mary, a human being, contained in her body He who cannot be contained.

This type is the most abstract of Marian images. The Christ Child is depicted in a sharply defined  medallion shape on Mary’s chest. The shape symbolically represents the sense of containment in Mary’s womb as well as holding that which cannot be held. It appears as an insert in the image and explains the reason for another title of this icon type, Our Lady of the Sign. The inspiration for the image comes from a text in Isaiah (7:14):

“The Lord himself will give you a sign. Behold a young woman shall conceive and bear a son, and shall call his name Immanuel.”

The facial expressions are serious; the poses frontal and approximately symmetrical. The Virgin in this category of Marian icon often stands on a regal cushion or decorated riser, substitutes for a throne. The folds of Mary’s robe behind the medallion imitate those of a curtain or drapery meant to enshrine the medallion.

Two interesting details in this particular icon from the Tretyakov Gallery in Moscow both unite the Child with His Mother and yet extend His presence beyond her.  Notice that the Child’s arms visually seem to connect the curved lines of the tops of Mary arms to make one complete sweep or downward arch that seems to hold the medallion’ shape to the Mother, uniting Mother and Child. Also notice, however, that the Child’s hands reach out beyond the borders of the medallion suggesting the “wider than” or “spacious” attribute of divinity -cannot be contained.

There is yet another interesting aspect to this composition that reinforces the theme of the Incarnation. There are four circles in the top half of the design that form an inverted triangle the apex of which is the medallion as if to suggest the descent of divinity from heaven into the body of Mary.  Even the angels at the top two corners seem impressed that such a thing could happen. Mary’s arms help emphasize the downward movement.

The “sign” shape and stylized rendering of forms presents us here with a universal symbol of the Incarnation, not a natural portrait of a mother and child.

Orant figure from a 4th century pagan sarcophagus.

As the Virgin appears to be praying –her arms are extended outward- this icon type is also called the Virgin Orans. The title Orans (a person praying) comes from a type of non-narrative symbolic figure with outstretched arms we find in the catacombs and on sarcophagi (used in other situations, as well). Such figures –always female- were common in pagan imagery and were thought to symbolize filial piety. They were used, in funerary art, to represent the  human soul (also thought to be female) of a deceased person. The early Christians adopted the figure for the same symbolic reason. Some art historians are of the opinion that the so called “orans” (or orant) figure also symbolized the whole Church at prayer. For this reason, the Virgin Orans is sometimes understood to be Mary, in her role as image of the Church, bringing Christ to the world and interceding for mankind with her Son. Orans or orant are generic terms now often used to describe any person in life or art praying with outstretched arms.

*Panagia means “All Holy” and is often used when referring to Mary as Theotokos, “God Bearer”

** Dogmaticon from The Great Vigil, tone 6

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Book Suggestions:

A History of Icon Painting by Lilia Evseyeva, et al. , Trans. Kate Cook, (Moscow, Grand-Holding Publishers, 2007)

The Mystical Language of Icons by Solrunn Nes, (Grand Rapids, Wm. B. Eerdmans Publishing Company, 2005)

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New Tag at Right

July 28th, 2010, Promulgated by Gen

Nerina & Co. came up with the idea of setting up a category, or rather, labeling our posts under a new tag, when the content is rant-like, controversial, or potentially-seen-to-be-uncharitable. I thought that was a masterful idea. Sometimes when you’re so busy working on your canvas, you need to step back several feet to make sure you didn’t forget to paint a nose or an ear – adding a specific tag for these posts will  be like giving that portrait its second eye.

I received a few suggestions – I actually liked them all.  The Crescat has “Bat Shit Crazy.” Fr. Z has “Throwing a Nutty.” And now, Cleansing Fire has . . .

“Stop Calling Me a Crypto-Nazi.”

No, it’s not as random as it sounds. Whenever we have a rant-type post here, it has been caused by a liberal or a gaggle thereof. Usually, this liberal and his/her/its  gaggle, after claiming a desire for dialogue, have come out swinging with blows of name-calling,  idiotic insinuations, hollow accusations, and outright rudeness. Kind of like what happens in the video below. I posted this once, several months ago. However, now that our readership has gone from 50 to 500, I think you would benefit by seeing it again:

In case you didn’t get William Buckley’s response to Vidal’s stupidity, he said this: “Listen you queer, stop calling me a crypto-Nazi, or I’ll sock you in the goddamn face and you’ll stay plastered.”

And so, whenever we are attacked, belittled, labeled, mocked, jeered at, treated unfairly, or blocked from the table of “dialogue”, we will label our post “Stop Calling Me a Crypto-Nazi.” If you feel grievously offended that we’d use a phrase from a sentence starting with, “Listen you queer,” I’m sorry – sometimes it’s better to be a little uncharitable and have a smile on your face than to be little-miss-perfect and be boiling over internally, emotionally, and spiritually.”The lesser of two evils,” one might say.

And you have to admit – Buckley’s statement certainly rings true in many, if not most, instances in the Diocese of Rochester.

I would also like to point out for the handful of people who have had their comments sent to the spam box, the trash can, and the fiery depths of the blogging inferno, it is not because we don’t desire dialogue. It seems that whenever we place facts into a post, our detractors come back with personal, pointed, not-so-subtle, “ad hominem” attacks. That’s not dialogue – that’s desperation. Within 25 years, the liberals, hippies, and other victims of their formation will be dead, dying, or retire – and they know this. They see their forty years of work reaching a peak, and then being trampled upon by the new generations of loyal, loving, vibrant Catholics. It’s called reality, and it hurts if you’re not doing the Lord’s bidding.

I would ask you to pray for the Diocese of Rochester – yes, we have this blog and others like it, and we have each other, and we even have several parishes and worship sites which are conducive to authentic Catholic teaching. But if we let the hate-mongers get to us, if we let them rob us of our humor, if we let them make us run and hide, we have lost. Like William Buckley in the 60′s, 70′s, 80′s, and 90′s, we need to be a steady, unwavering example of sane reasoning. He was a crusader for conservative thought, and we need to be crusaders for theological, liturgical, and canonical orthodoxy.

This turned into more than a simple “look at our new tag” kind of post. Sorry about that. Simply put – we aren’t being uncharitable, we’re clinging to our humor and sanity. If you say we’re wrong, stupid, ignorant, heretical, schismatic, fascist, anti-gay, anti-womyn, anti-Vaticn II, that’s when we say, “Stop Calling Me a Crypto-Nazi.”

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A Quintessential Father Z. Rant

July 27th, 2010, Promulgated by Nerina

I know that Father John Zuhlsdorf  isn’t everyone’s “cup of tea,” but he is at his finest today as he “fisks” a column from the National Catholic Reporter (or in Fr. Z. world – fishwrap).  Note that one of his tags on this piece is called “Throwing a Nutty.”  I think the CF staff needs to consider adding this to our list of tags.  Enjoy the master at work.

In His Peace,

Nerina

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The Bad Seed of Heresy

July 27th, 2010, Promulgated by Gen

I think you will enjoy this homily from the Franciscan Friars – I know I certainly did.

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The Ecclesial 11th Commandment – Take two

July 27th, 2010, Promulgated by Mike

Last summer I wrote about what I called The Ecclesial 11th Commandment: “Thou shalt not speak ill of a fellow bishop.” Back then I was complementing Bishop Thomas Tobin of the Diocese of Providence for saying what needed to be said regarding Archbishop Rembert Weakland on the occasion of the publication of his self-serving memoir.

Phil Lawler at CatholicCulture.org has just published a piece on the same theme.  He concludes with,

Is it acceptable for a bishop, who claims to be in communion with the Holy See, explicitly to contradict an established teaching of the Church? Is it acceptable for a bishop, consecrated to serve the cause of evangelization, to refuse to say whether or not he is a Catholic priest? No; these are unacceptable public statements, which bring scandal and discredit upon the hierarchy. It’s time for good and faithful Catholic bishops to defend their own authority, by denouncing colleagues who abuse it.

Read Phil’s complete post here.

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Images in the Chancel ! (A Good Example)

July 26th, 2010, Promulgated by Bernie

Previously here

Chancel of St. Paul’s Church, Bergen, Norway*

Crucifix, Altar Frontal, Ambo and Lectern Frontals

by Iconographer Solrunn Nes

Here is an example of what I think is a good use of imagery in a contemporary chancel. The images are employed in such a way as to be unavoidably a part of the Liturgy for they help define the sacredness of the space. They also extend the experience of the Liturgy in time to both before and after the Mass.

The crucifix dominates the chancel and is the most important decoration in the whole church. There are a variety of different Christological teachings expressed in different styles of crosses. This one represents just one type. The important thing to keep in mind, however, is that the style and the teaching should be inspired from tradition and orthodox doctrine and not be the artist’s personal vision. I won’t go into the particular Christology of this crucifix as my intention is merely to give an example of what I consider to be a chancel that gives a prominent role to imagery. Do notice, however, that brilliant colors are employed to contrast with the neutral colors of the chancel walls, thus emphasizing the cross. The complexity of the shape of the cross also invites attention compared to the simplicity of the surrounding forms.

"Altar Frontal" by Solrunn Nes*

The colors of the altar frontal echo the colors and style of the crucifix and the subject draws from traditional imagery. Again, I won’t go into the particular Christology depicted here except to mention that represented is the traditional Majestas Domini or Christ in Majesty/Glory image flanked by images of Peter on the left, and Paul on the right. Altar frontals are an excellent place to introduce imagery into the chancel (much better than banners!) especially if your current environment is a theater-in-the-round arrangement. All sides of the altar can display images.

The smaller images on the fronts of the ambo and lectern are by the same artist and repeat the colors and style of the crucifix and altar frontal.

The stained glass windows are an inherited feature of the building as well as the sculptures. The tabernacle echoes the shape of the windows.

This does not appear to have been a terribly expensive renovation and probably could serve as a reasonable model even for our own St. Paul’s Church in Webster –not the particulars, of course, but the general principles.

I hope you agree that this creates a fitting feeling of sacred space in which to enact the most sacred ritual of the Mass.

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The images for this post were scanned from:

*The Mystical Language of Icons by Solrunn Nes, (Grand Rapids/Cambridge, William B. Eerdmans Publishing Company, 2004) pp 104 and 108. Email: solrunn.nes@ikonmaleri.no and Website: www.icon-painting.com. I think this is a terrific book! You’ve probably noticed that this isn’t the first time I’ve cited it. The icons illustrated in the book are nearly all hers and beautiful. Equally great, however, are her prayerful reflections and explanations. St. Paul’s, Bergen is her home parish.

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Infallibility – Let’s Review

July 26th, 2010, Promulgated by Nerina

In Ben’s recent series of posts on Sr. Patricia Schoelles’  Theology on Tap presentation, Sr. Pat attempted to derail the conversation about sexual ethics by invoking the teaching of “infallibility.”  Not surprisingly, Sr. Pat presented an incomplete definition of the teaching and molded the term to fit her desired agenda.  To wit, we were treated to this all too predictable progressive statement:

“Only three doctrines have been proclaimed as infallible.  One has to do with the definition of infallibility, and two have to do with Marian doctrines.  In fact, the concept of infallibility only arose in 1870″

Sr. Pat went on to say, “No moral teachings have been proclaimed ‘infallible’.”

Huh.  Who knew?  Only three infallible teachings.  Where to begin with our dissection?

Let’s start with a definition of infallibility.  As most of us know, the teaching of infallibility refers to, in general:

“the exemption or immunity from liability to error or failure; in particular in theological usage, the supernatural prerogative by which the Church of Christ is, by a special Divine assistance, preserved from liability to error in her definitive dogmatic teaching regarding matters of faith and morals.”

In other words, the Church is Divinely protected from teaching error regarding matters of faith and morals.  This means one pope can’t reverse the teaching of a previous pope nor can one pope teach against long-established and accepted doctrine (for proof of this protection, refer to Humanae Vitae - more on this later).  It also means that the bishops, in communion with the pope, are also protected from teaching error.  It does NOT mean that the pope or bishops are infallible human beings.

Sr. Pat, in her assertion that there are “only three infallible teachings,” was referring to one expression of infallibility, namely ex cathedra teaching.  Infallibility, however, is expressed in different ways.  As Catholic Encyclopedia tells us, other organs of infallibility include ecumenical councils, and the ordinary magisterium (a.k.a. ecclesiastical infallibility).  She correctly asserted that papal infallibility was defined formally at the first Vatican Council in 1870.  What she fails to mention is that the Church believed in, and acted in accordance with the belief that She has been and is now divinely protected from teaching error.  While a review of early councils and the writings of Church Fathers will yield no mention of the word, “infallible” or “infallibility” the concept was clearly understood.  From the beginning the Church acted under the assumption of infallibility.

WHY DID THE EARLY CHURCH BELIEVE IN DIVINE PROTECTION?

1. Scripture – see Mt. 28:18-20; Mt. 16:18; John 14, 15, 16; 1 Tim 3:14-15; and Acts 15:28.

2. Proof from Tradition – e.g. the Early Church Fathers (see New Advent for indepth discussion)

PAPAL INFALLIBILITY and EX CATHEDRA PROCLAMATIONS

Sr. Pat disingenuously sidetracked the discussion of sexual ethics by introducing the idea that only three doctrines have been declared “infallible.”  What she should have said, is that only three doctrines have been proclaimed as “ex cathedra” statements (literally, “from the chair”) and therefore she feels these are the only “infallible” doctrines.  I have heard this claim before, and I must admit in my early days of learning the faith, it threw me for a loop.  But then I started to think about it.  It’s true that only two teachings have been declared “ex cathedra” (the Assumption, and the Immaculate Conception).   But this reality does not mean what Sr. Pat leads us to believe – namely, that since only these teachings have been pronounced “ex cathedra” then ONLY these  teachings are  “infallible,” and therefore, binding.  As my thirteen year old daughter would say, “FAIL!”

We have many doctrines that have not been declared “ex cathedra,” yet we still hold them infallible.  The divinity of Christ, the nature of the Trinity, the necessity of baptism, the Eucharist, the grave sins of contraception and abortion are all examples of infallible truths taught by the Church.  But here is where Sr. Pat really has an agenda.  In her declaration “No moral teachings have been declared infallible,” she is playing a semantics game and sowing seeds of doubt.  She hopes that people will connect the dots as she has laid them out – i.e. since only two teachings are infallible (at least according to Sr. Pat), then everything else is “up for grabs.”  She should have been honest and said that no moral teaching has been pronounced “ex cathedra” and explained the distinction, but she didn’t.  Instead she hopes to confuse.  And yes, I’ve heard many, many progressives argue that Humane Vitae is NOT infallible teaching even though it simply reiterated the long-held prohibition against artificial contraception.  Why do the progressives reject it?  That’s right.  Because it wasn’t proclaimed “ex cathedra.”  Apparently, the closing words of Humanae Vitae are inadequate in establishing infallibility:

Venerable brothers, beloved sons, all men of good will, great indeed is the work of education, of progress and of charity to which We now summon all of you.  And this We do relying on the unshakable teaching of the Church, which teaching Peter’s successor together with his brothers in the Catholic episcopate faithfully guards and interprets.

They’re right.  No “ex cathedra” found here, but we do see “relying on the unshakable teaching of the Church.”  What happened after the promulgation of Humanae Vitae is a post in itself.  Suffice it to say that Pandora’s box of dissent was opened and hasn’t been shut since.

So, don’t be fooled.  And don’t let others be fooled.  I believe the Sr. Pat and those with similar thinking are a dwindling bunch.  But they can still do spiritual damage.  We should be prepared to correct false teaching when we encounter it and defend our Faith.

In His Peace,

Nerina

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Quorum Reliquae Hic Sunt

July 26th, 2010, Promulgated by Gen

I have been given a little story for you all, with the stipulation that I not name the parish.

In the Extraordinary Form of the Mass, the priest repeatedly acknowledges the relics of the martyrs which are “entombed” in the altar stone, placed in the mensa, or actual surface portion of the altar. He kisses them, places his hands on them to steady himself, and offers the Mass on the resting place of the martyrs just like our earliest brothers and sisters in the Faith did in the catacombs. There is a great deal of respect given to the relics, for without the sacrifices of those whose bones they are, the Church would not have endured for long.

But, alas, respect is a foreign and dirty word in Rochester. When a local parish was renovated, the old altar was, of course, dismantled and modified to suit the new needs of the parish. The old mensa was removed and incorporated into one of the new side-altars, namely, the one upon which the tabernacle rests. However, the old altar’s mensa (with relics still therein) was not used as the new side-altar’s mensa. No, it was used as the first step to go up to the tabernacle.

Only in Rochester do we go from having the priest praying, “We beseech You, Lord, by the merits of Your saints whose relics are here, and of all the saints, to deign to forgive me all my sins,” to treading on the relics with complete disregard for their presence. Bravo, Satan. You win another round.

(So, just to be clear – it’s a bad thing to go from using relics as veneration to using them as a footstool.)

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A Vatican Literacy Quiz

July 25th, 2010, Promulgated by Vox Clara

I came across a post recently on John L Allen Jr’s NCR blog “All Things Catholic.” I highly recommend that you check it our and see how you perform on his quiz. Allen’s suggestion is that one might offer this quiz to anybody who hold brazen opinions on matters concerning the Vatican, especially when they appear to know very little. It’s really an ingenious idea, especially given how many Americans feel qualified to pontificate on what our pontiff ought to be saying or doing.

For my part, I passed muster. I missed number 3 after narrowing it to two options and guessing the wrong one and missed number 10 the same way. That must make me an awful guesser or something since I missed to 50/50 shots in a row! I’m eager to hear how all of you do and let me know if this quiz proves useful to you.

Lastly, and unrelated to this post, Utilitarianism II will come eventually. I meant to do it last week, but something came up.

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Why Catholics Are Cool

July 24th, 2010, Promulgated by Ink

Because they rock.  Honestly.  I was in Florida recently, in the Tampa area (yes, in the summer… a most unfortunate experience) and had forgotten my hat but, luckily, packed my chapel veil.  While at Mass (which I am desperately trying to forget, since I came out of it in desperate need of a trip to Confession), I looked around and saw a couple girls and ladies with chapel veils.  There were only a handful, probably no more than four (not counting myself) but it was a welcome sight.  Even better?  A young lady, probably college student, who had her own enormous beautiful one, told me mine looked nice.  It was so normal and fun and friendly–like telling a lady you like her earrings or shoes or whatnot.  But delightfully reverent.  I don’t know why I get so much amusement and pleasure from these little encounters, but I guess they just prove to me that the true  Catholic tends to be very, very cool.

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Kyriotissa Icon in National Gallery

July 24th, 2010, Promulgated by Bernie

Previously:  here and here and here

"Virgin and Child Enthroned", ca. 1290, National Gallery of Art in Washington, D.C., Andrew W. Mellon Collection

This Kyriotissa type Marian image is one of those wedded to the Hodegetria type; the Mother sits on a throne (Kyriotissa) and presents the Child to us (“shows us the way” -Hodegetria). The Child raises his right hand in benediction and holds a book in his left. *

The throne in this case is reminiscent of the Coliseum in Rome.  The left front edge of the throne overlaps the throne’s cushion and creates a spatial depth somewhat unusual in the Byzantine style. Rather than floating in front of the throne, Mary and the Christ Child actually appear to be seated in a niche. 

Two archangels are depicted in medallion shapes in the top corners and the background is, once again, the solid gold leaf symbolic of heaven. The figures are gracefully stylized: elongated, curved and delicate. The expressions and gestures are sweet and soft. The facial features of the Virgin reflect the mature Byzantine style: narrow eyes, a thin long nose, and small pinched mouth. 

Particularly noteworthy are the colors and lighting. The three primary colors red, yellow and blue dominate the composition but two secondary colors, orange and green, lend contrast and emphasize the Christ Child. Green is the opposite color from red on the color wheel; orange is opposite blue. The green color on the Child’s cloak is as the red color is on the Mother’s, and the orange of the Child’s tunic is as the Blue is on Mary’s. Such clever compositions are the result of a skillful use of the elements and principles of design by artists. In this case the use of colors and their proportionality and placement convey a harmonious, balanced, and peaceful feeling. The brilliance and intensity of the colors suggest nobility and are appropriate to the “enthroned” theme. 

Light glows from the forms in this icon, as it does in most Byzantine icons. It originates from the gold leaf background, explodes through the forms, exiting from points of protrusion or stress in sprays of gold lines. 

I like art historian James Snyder’s description of the upper half of the icon: 

“…but there are other mystical associations at work in the style here. The upper half of the panel is dominated by circular forms: the throne that encloses the Virgin, the perfect circles of Mary’s head and halo, those of the Child, and the circular medallions with the angels. This repetition of perfect circular forms evokes a gentle hypnotic response in the more sensitive worshipper and leads him slowly into a trancelike meditation.”** 

Like all icons this one is a “window into heaven.”

Heaven; our ultimate goal. Be encouraged!

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*I love this icon. It is the first one I ever took a liking to. We have a very large print of it hanging in the entrance to our living room. I don’t think Pat is as fond of it as I am but she has tolerated its placement in the entrance for many years. We have a votive lamp hanging in front of it that she picked out when we visited Istanbul. 

**Medieval Art: Painting, Sculpture, Achitecture 4th-14th Century by James Snyder (New York, Harry N. Abrams, Inc., 1989) p155. (The customer review at Amazon refers to the book seller, not the book.) Other of Snyder’s descriptions of the icon on that page informed the content of this post. 

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