ed. Atchley
by Pierre Batiffol
by Edmund Bishop
by Dom Fernand Cabrol
by Dom Gregory Dix
by L. Duchesne
by Adrian Fortescue
by Josef Jungmann
by Josef Jungmann
by Archdale King
by Archdale King
by Archdale King
by Fr. Casimir Kucharek
by Fr. Uwe-Michael Lang
by Christopher Page
by Lauren Pristas
by Alcuin Reid
by Dom E.A. Roulin
by H. Schulz
by Ildefonso Schuster
by Cardinals Arinze, George, Medina, Pell
by Abbe Claude Barthe
ed. Stratford Caldecott
by Stratford Caldecott
by David Clayton and Leila Marie Lawler
by Laszlo Dobszay
by Laszlo Dobszay
by Msgr. Klaus Gamber
by Nicola Giampietro
by Geoffrey Hull
by Fr. Thomas Kocik
by Peter Kwasniewski
by Agostino Marchetto
by Martin Mosebach
by Fr. Aidan Nichols, OP
by Fr. Aidan Nichols
by Catherine Pickstock
edited by Alcuin Reid
by Fr. Jonathan Robinson
by David Torevell
ed. Kenneth D. Whitehead
(Sacra Liturgia 2013)
(FOTA V, 2012)
(FOTA IV, 2011)
(FOTA III, 2010)
(FOTA II, 2009) 
(FOTA I, 2008) 
(CIEL 2006)
: 1999 CIEL Proceedings
by David Berger
by Fr. Andrew Burnham
by Romano Guardini
by Dr. Laurence Hemming
by Cardinal Journet
by Denis McNamara
by Cardinal Joseph Ratzinger
by Dom Daniel Saulnier, OSB
by a Benedictine Monk
by a Benedictine Monk
(1954 edition)
(3 volume set)
(Matching edition to Latin Missale Romanum)
(Latin edition of the modern Roman lectionary)
(Latin-English)
(hand missal in English, 2011)
(Solesmes)
(Solesmes, 2012)
(Solesmes, 1974)
(revised in accordance with Summorum Pontificum by Alcuin Reid)
by Msgr. Peter Elliott
by Msgr. Peter Elliott
by Dom Matthew Britt
A few years ago, Shawn Tribe published an article about the presence of Saints of the Old Testament in the Eastern liturgies, and their almost total absence from those of the West. Although a large number of Old Testament Saints are mentioned in the Martyrology, the Seven Maccabees Brothers are the only ones on the traditional Roman Calendar, and their feast was suppressed in the new rite, despite its great antiquity. A number of churches in Venice, a city always marked by strong Greek influences, are dedicated to Saints of the Old Testament, such as San Moisè and San Giobbe. (Moses and Job) The most prominent exception to this absence, however, is the celebration of the Prophets Elijah and Elisha as the founders and patriarchs of the two Carmelite Orders. Of these the former has his feast day on July 20th, the latter on June 14th, the same days on which they are observed in the Byzantine Rite.
Seen above is the central panel of the altarpiece painted by Pietro Lorenzetti (ca. 1280 - 1347) for the Carmelite church of his native city of Siena, San Niccolò del Carmine. The altarpiece is now dismembered and removed from its original frame; most of the surviving pieces are in the National Gallery of Siena, but the two narrower panels originally on either side of the central one are in the Norton Simon Museum in Pasadena, California, and a smaller piece from the top is at Yale University.
To the left of the Virgin stands St Nicholas, to whom the church is dedicated; to the right is the prophet Elijah. On the scroll in his hands are written the words which he speaks in 3 Kings 18, 19: “Nevertheless send now, and gather unto me all Israel, unto Mount Carmel, and the prophets of Baal four hundred and fifty.” The Carmelites have traditionally honored the prophet Elijah and his disciple Elisha as their founders; in the liturgical books of both the Old Observance and the Discalced, they are each given the title “Our Father”, as is St Dominic in the Dominican Use, St Benedict in the Monastic Use, etc. Both orders also add the name of Elijah to the Confiteor, the Discalced even before that of St Theresa of Avila. Their feasts were kept with octaves, a traditional privilege of patronal feasts, even before an octave was given to the feast of Our Lady of Mount Carmel on July 16th.
The tradition behind this is recorded in the lessons of the Roman Breviary for that day, with the cautionary parenthetical note “ut fertur – as the story goes” added at the beginning. In the Books of Kings, there are several references to a group of holy men called “the sons of the prophets”. They foretell to Elisha that Elijah is to be taken away by the Lord, although Elisha already knows this, and afterwards bear witness that “the spirit of Elijah resteth upon Elisha,” who then works several miracles on their behalf. The traditional Carmelite legend claims that a group of men dedicated to God remained on Mount Carmel until the days of the New Testament, when they were “prepared by the preaching of John the Baptist for the coming of Christ”, and “at once embraced the faith of the Gospel.” They are also said to be the first Christians to build a chapel in honor of the Virgin Mary, on the very spot on Mount Carmel where Elijah had seen the “little cloud”, understood as a symbol of the Virgin Mary.
One of the two pieces now in Pasadena shows St John the Baptist; it was originally placed to the right of the central panel, so that he would be next to Elijah, since John went before the Lord “in the spirit and power of Elijah”, and the Lord Himself said in reference to him, “Elijah has already returned.” On the left was the panel of Elisha, looking very much like an Eastern monk, despite his Carmelite habit; on his scroll is written “Elijah went up by a whirlwind into heaven. And Elisha saw him, and cried: My father, my father, the chariot of I[srael, and the driver thereof.]” (4 Kings 2, 11-12)
Even for an age in which the veneration of the Virgin Mary may truly be described as omnipresent, the city of Siena stood out as a place of particular devotion to Her. In 1260, before the crucial battle of Montaperti, the city placed herself by a special vow under the protection of the Virgin, and proceeded to heavily defeat her long-time rival Florence, whose army was nearly twice as large as her own. Both the cathedral and the city hall were prominently decorated with famous paintings of the Virgin enthroned, of the type known as a “Maestà”; the former had that of Duccio di Buoninsegna, commissioned less than twenty years before Lorenzetti’s Carmelite altarpiece, and the latter that of Simone Martini from just twelve years before. When Lorenzetti’s work was finished, the mendicant Carmelites could not afford to pay for it, and so the artist’s fee was provided by the city itself.
Despite all this, the panels at the bottom of the altarpiece are not dedicated to the principal subject of the main panel, as they would normally be, but rather to the prophet Elijah. In the first, an angel appears to his father, with a prophecy of his son’s future greatness, just as an angel would later appear to the father of St John the Baptist.
In the second, we see hermits in the desert around a fountain, which was said to have been built for them by Elijah. These would be the spiritual ancestors of the Carmelite Order, men who lived as monks in the Greek tradition in the Holy Land, before being organized under a rule during the period of the Crusader kingdoms.
The striped mantle which they are wearing is part of the habit worn by the Carmelites when they still lived in the Holy Land; because of it they were often called in Latin “fratres barrati – barred friars”, or “fratres virgulati – striped friars.” A tradition of the medieval Carmelites held that these stripes represented the tracks of the chariot that took Elijah into heaven, and had been inherited as part of their habit from Elisha.
When the Carmelites were forced to abandon the Holy Land at the fall of the Latin kingdoms, they brought their traditions, including the habit, with them to Western Europe, where the striped mantle was considered completely outlandish for religious of any kind, but especially for medicants. Many of the universities refused to admit them dressed that way; hence, the decision of a general chapter held at Montpelier in 1287 to replace it with the white mantle still worn to this day. This was a matter of some controversy within the order at the time, and the prophets are shown by Lorenzetti in the “new” habit probably as a gesture to persuade the friars to accept it.
To the left of the Virgin stands St Nicholas, to whom the church is dedicated; to the right is the prophet Elijah. On the scroll in his hands are written the words which he speaks in 3 Kings 18, 19: “Nevertheless send now, and gather unto me all Israel, unto Mount Carmel, and the prophets of Baal four hundred and fifty.” The Carmelites have traditionally honored the prophet Elijah and his disciple Elisha as their founders; in the liturgical books of both the Old Observance and the Discalced, they are each given the title “Our Father”, as is St Dominic in the Dominican Use, St Benedict in the Monastic Use, etc. Both orders also add the name of Elijah to the Confiteor, the Discalced even before that of St Theresa of Avila. Their feasts were kept with octaves, a traditional privilege of patronal feasts, even before an octave was given to the feast of Our Lady of Mount Carmel on July 16th.
The tradition behind this is recorded in the lessons of the Roman Breviary for that day, with the cautionary parenthetical note “ut fertur – as the story goes” added at the beginning. In the Books of Kings, there are several references to a group of holy men called “the sons of the prophets”. They foretell to Elisha that Elijah is to be taken away by the Lord, although Elisha already knows this, and afterwards bear witness that “the spirit of Elijah resteth upon Elisha,” who then works several miracles on their behalf. The traditional Carmelite legend claims that a group of men dedicated to God remained on Mount Carmel until the days of the New Testament, when they were “prepared by the preaching of John the Baptist for the coming of Christ”, and “at once embraced the faith of the Gospel.” They are also said to be the first Christians to build a chapel in honor of the Virgin Mary, on the very spot on Mount Carmel where Elijah had seen the “little cloud”, understood as a symbol of the Virgin Mary.
One of the two pieces now in Pasadena shows St John the Baptist; it was originally placed to the right of the central panel, so that he would be next to Elijah, since John went before the Lord “in the spirit and power of Elijah”, and the Lord Himself said in reference to him, “Elijah has already returned.” On the left was the panel of Elisha, looking very much like an Eastern monk, despite his Carmelite habit; on his scroll is written “Elijah went up by a whirlwind into heaven. And Elisha saw him, and cried: My father, my father, the chariot of I[srael, and the driver thereof.]” (4 Kings 2, 11-12)
Despite all this, the panels at the bottom of the altarpiece are not dedicated to the principal subject of the main panel, as they would normally be, but rather to the prophet Elijah. In the first, an angel appears to his father, with a prophecy of his son’s future greatness, just as an angel would later appear to the father of St John the Baptist.
When the Carmelites were forced to abandon the Holy Land at the fall of the Latin kingdoms, they brought their traditions, including the habit, with them to Western Europe, where the striped mantle was considered completely outlandish for religious of any kind, but especially for medicants. Many of the universities refused to admit them dressed that way; hence, the decision of a general chapter held at Montpelier in 1287 to replace it with the white mantle still worn to this day. This was a matter of some controversy within the order at the time, and the prophets are shown by Lorenzetti in the “new” habit probably as a gesture to persuade the friars to accept it.
