Friday, May 08, 2026
The Shrine of St Michael the Archangel on Mount Gargano
Gregory DiPippoLearned Blunders: The Impact of Flawed Scholarship on the Liturgical Reforms of the Twentieth Century
Michael P. FoleyMost of the debates about the liturgical reforms of the twentieth century are understandably concerned with theological or ideological elements. Critics of the 1962 Missal worry that the old Mass is too hierarchical and too aligned with an outdated political ideology, a relic of the days of the Ancien Régime. Critics of the 1969 Missal, on other hand, wonder if the new Mass is too egalitarian, modernist, Protestant, Masonic, etc. My goal in this essay, however, is to focus on the role that honest mistakes about historical facts may have played in the formation and implementation of the 1969 Missal.
The rite of the Mass is to be revised in such a way that the intrinsic nature and purpose of its several parts, as also the connection between them, may be more clearly manifested, and that devout and active participation by the faithful may be more easily achieved. For this purpose the rites are to be simplified, due care being taken to preserve their substance; elements which, with the passage of time, came to be duplicated, or were added with but little advantage, are now to be discarded; other elements which have suffered injury through accidents of history are now to be restored to the vigor which they had in the days of the holy Fathers, as may seem useful or necessary.
The liturgy of the early ages is most certainly worthy of all veneration. But ancient usage must not be esteemed more suitable and proper, either in its own right or in its significance for later times and new situations, on the simple ground that it carries the savor and aroma of antiquity. The more recent liturgical rites likewise deserve reverence and respect. They, too, owe their inspiration to the Holy Spirit, who assists the Church in every age even to the consummation of the world. They are equally the resources used by the majestic Spouse of Jesus Christ to promote and procure the sanctity of man (61).
This idea was often based on the hypothesis of a degeneration in which the “golden age” of patristics was followed by the “dark Middle Ages” leading to a “rigid standard liturgy” in the period between Trent and Vatican II. This way of looking at the history of liturgy is being radically called into question today. [1]
Concelebration, whereby the unity of the priesthood is appropriately manifested, has remained in use to this day in the Church both in the east and in the west. For this reason it has seemed good to the Council to extend permission for concelebration to the following cases (Sacrosanctum Concilium 57.1).
Thursday, May 07, 2026
Online Resources for Papal Ceremonies
Gregory DiPippoThe creators of the Poland-based website Caeremoniale Romanum have contacted us to share news of a couple of important new resources which they have recently added to the site.
At the following page: https://caeremonialeromanum.com/en/caeremonialia-papalia-dykmans/, you will find links to two different works by the Belgian Jesuit Fr Marc Dykmans. The first is his four volume series, “Le Cérémoniale papale de la fin du Moyen Âge à la Renaissance (Papal Ceremony from the end of the Middle Ages to the Renaissance)”, and the second is his edition (in two volumes) of the papal ceremonial of Agostino Piccolomini (died 1495), which became the basis of all the papal rites used in the Tridentine period. Note that these are critical editions of the relevant liturgical books in the original Latin, with copious notes, prefatory and explanatory in French. There is also a link to another ceremonial from one of the manuscripts in the Vatican Library (Urb. Lat. 469), which predates just predates Piccolomini’s reform, in the edition by Mons. Joaquim Nabuco.The Life of St Stanislaus Depicted on a Chasuble
Gregory DiPippoOn the general calendar of the Roman Rite, today is the feast of St Stanislaus (1030-79), a priest of Krakow who was well-known as an excellent preacher, and elected bishop of that see in 1072. The king of Poland at the time, Bolesław II, was a talented and capable man, but indulged in many evil deeds; he kidnapped a noblewoman after whom he lusted, and stole property from the Church. For this, Stanislaus excommunicated him, forbidding services to be celebrated in the Wawel Cathedral whenever he was present, in return for which, the king murdered him while he was in the midst of celebrating Mass. He has often been compared to St Thomas Becket, who likewise resisted the importunities of the sovereign against the Church.
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| St Stanislaus depicted in a manuscript of the Lives of the Bishops of Kraków by Jan Długosz, the principal source for his life, made in the 1530s for Bp Piotr Tomicki, who is depicted venerating him in the company of King Sigismund I and other dignitaries of the church and state. The tiny figure at his feet is the man whom he raised from the dead, as explained below. The inscription in the red plaque on the left reads, “Vir inclite Stanislae vita, signis, passione, gregem tuam, pastor bone, fove benedictione, guberna protectione, sana salva sancta intercessione. – O Stanislaus, renowned for your life, miracles and passion! O good shepherd, support your flock with your blessing, govern it with your protection, heal and save it through your holy intercession!” This is the antiphon at the Magnificat for Second Vespers of his proper Office used in Poland. (Public domain image from Wikimedia Commons.) |
The treasury of the Wawel cathedral preserves an extraordinary chasuble, made in 1503 for the 250th anniversary of Stanislaus’ canonization, a donation of the governor of Krakow, Piotr Kmita. The main events of the Saint’s life are depicted in very high relief and incredibly complex embroidered panels, mounted on wooden boards, and detailed with pearls, and tiny accessories (like the chalice in one of the scenes) made by goldsmiths. Our thanks to the administrators of the cathedral’s Facebook page for their kind permission to reproduce these detailed photographs of it. Below, we have some photos by our own Nicola de’ Grandi of some other things pertinent to the Saint.
Posted Thursday, May 07, 2026
Labels: feasts, Historical Vestments, Nicola de' Grandi, Poland, saints
Wednesday, May 06, 2026
The Feast of St John at the Latin Gate
Gregory DiPippo![]() |
The Martyrdom of St John the Evangelist, by Charles le Brun, 1641-42, from the church of St Nicholas du Chardonnet in Paris.
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The right wing of the St John Altarpiece, by Hans Memling, ca. 1479, showing the Apostle John and his vision of the Trinity.
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The church of St John at the Latin Gate is the station church of the Saturday before Palm Sunday, here photographed by our Roman pilgrim friend Agnese on that occasion in 2014. (interior below)
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| St John the Evangelist writing his Gospel on a scroll, ca. 1450, by the Cretan icon painter Andreas Ritzos (1421-92) |
Introducing the Thomistic Artists Guild, with Upcoming Conference and Competitions
Peter KwasniewskiNLM received the following notice from Fr. James O’Reilly, FSSP, and is pleased to share it with the public.
For those of you interested in promoting beauty and excellence in the fine arts, I encourage you to become patrons for the Thomistic Artists Guild, INC. We are a nonprofit organization based in Los Angeles that is currently seeking status as a Public Association of the Faithful so we can open up local chapters outside of California.
The five points of our vision are as follows:
- Praying for artists
- Fostering appreciation for the fine arts
- Assisting artists find morally sound work
- Preserving reverence for the Church’s patrimony
- Evangelizing through the fine arts
The Guild is under the patronage of St. Thomas Aquinas because we are encouraging artists to make art with the components of beauty (due proportion, clarity, and integrity) that Thomas writes about. We also have been inspired by Dr. Daniel McInerny’s book Beauty and Imitation to see the seven main types of fine art (music, literature, sculpture, film, theater, painting, and architecture) as mimetic arts that tell our story to pursue happiness, ultimately eternal beatitude in heaven. Guild members make art through this mimetic lens and encourage fellow artists to do the same.
Our Guild members also have a great affinity toward the Vetus Ordo due to its high degree of beauty and the impact it has had on artists throughout history. The Traditional Latin Mass brings many artists to encounter Beauty itself in the Sacred Liturgy which inspires them to make works of art containing due proportion, clarity, and integrity. Michelangelo, Vivaldi, and Tolkien regularly worshiped at the TLM when their artistic masterpieces were made. I hope that future Guild members and patrons are also inspired in their artwork due to their love for the Church’s liturgical patrimony. Many members of Thomistic Artists Guild regularly worship God with the TLM and in turn bring true excellence to their artistic disciplines such as theater, film, music, and painting.
Even if you are not an artist yourself, you are welcome to join the Guild as a patron to help us live out our mission. More information about becoming a patron can be found on the Guild’s website.
Previous performances and lectures can be found on the Guild’s YouTube page.
Our first ever “Art and Virtue” conference will be held on May 30th at St. Vitus Catholic Church in Los Angeles. The day begins with a Dominican Rite High Mass followed by a series of presentations, live music, and poetry writing. Thomas Mirus from the Catholic Culture podcast will be the main keynote speaker and will discuss the role of virtue in the life of artists. Elena Roche and Professor Anthony Grumbine are the other two speakers as well. Cash prizes will be awarded for the poetry and art competitions.
Sign up for the art competition here.
Sign up for the poetry competition here.
Please keep the Thomistic Artist Guild in your prayers and pray that artists follow Thomas’ principles of beauty in their artwork!
God our Father, we see the beauty in the world you created. Please guide the actions of Catholic artists, that they may cultivate fine art that glorifies You and promotes virtuous living among others. Help them foster works of art containing due proportion, clarity, and integrity so others may be inspired to be with the source of Beauty itself. We ask this through Christ our Lord. Amen.
(Thomistic Artists Guild Prayer)
Posted Wednesday, May 06, 2026
Labels: competitions, conferences, Sacred Art, Thomistic Artists Guild
Tuesday, May 05, 2026
Abbé Henri Dutilliet’s “Little Liturgical Catechism” Now in English
Peter KwasniewskiThis fine but forgotten book was rediscovered by the decadent-novelist-turned-Benedictine-oblate Joris-Karl Huysmans, who saw it back into print in 1896 as a remedy for “ignorance of the Sacred Liturgy.” Nor has the need for education ceased 130 years later, when the traditional rite so beautifully expounded in these pages has returned to so many churches. It is thus fitting to bring Dutilliet’s marvelous aid to light for our times, even as Huysmans did for his.
Expanded with notes that explain unfamiliar terms or point out differences between various editions of the old Roman rite, this first-ever English translation of Dutilliet’s text offers the faithful “the enduring enchantment of the admirable year of the Church” and the understanding that “all in her worship is full of meaning; nothing is left to hazard; no detail, however minute, is without purpose.”
The book is enriched by a substantial appendix that offers a catechism in Ecclesiastical Chant.
Reading the Little Liturgical Catechism is a painless way to acquire much learning in a short time. It would be especially useful to seminarians, MCs, altar servers, musicians, and catechists or religious educators, not to mention bookstores or bookstands.
Augustin Hacquard, bishop of Verdun, described this book as “the fruit of serious research, composed with as much method as precision. We commend this valuable work alike to those who instruct and to those who seek to be instructed.” Frédéric Victor Duval praised it in like manner: “This booklet is very appealing due to its catechetical form. If it were more widely distributed, Catholics would follow the services with greater enthusiasm, and their piety, less ignorant of the liturgy, would be deeper and more lively.”
You may “look inside” the publication at this link, but here are a few sample photos for convenience:
Also of possible interest to readers, here are some other recent publications:
A New Commission by Artist Henry Wingate: Our Lady of La Vang for Holy Rosary Church, Houston
David ClaytonI was delighted to hear from an old friend, Henry Wingate, who wanted to tell me about his latest project, a painting of Our Lady of La Vang, commissioned by Holy Rosary Church, in Houston, Texas.
Monday, May 04, 2026
The Legend of St Judah Cyriacus
Gregory DiPippoOn May 4th, the Martyrology contains a seemingly very ordinary entry about a saint named Cyriacus: “At Jerusalem (the birth into heaven) of St Cyriacus the bishop, who was slain there under Julian the Apostate when he was visiting the holy places.” But behind this there lies a very remarkable hagiographical confusion, which is connected to the previous day’s feast of the Finding of the Holy Cross.
The fifteenth bishop of Jerusalem, and the last man of Jewish descent to hold that office, was a certain Judah, who is mentioned in Eusebius’ Ecclesiastical History (IV, 5). He is also traditionally said to be a descendant of the Lord’s family, the great-grandson of the Apostle Jude, and was therefore known by the epithet “Kyriakos”, meaning “of the Lord.” Eusebius also says that he lived at the time of the second great rebellion of the Jews against Roman rule (132-35), known after its leader as the Bar-Kochba rebellion. After this was put down, Jews were forbidden to live in the city, and thus he could no longer serve as its bishop; he was therefore replaced by a man named Marcus, and lived out the rest of his days in Galilee.![]() |
| St Helena, 1495, by Cima da Conegliano. Public domain image from Wikimedia Commons. |
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| Judah being lowered into the well, part of the cycle of paintings which depict the legend of the Cross by Piero della Francesca (after 1447), in the basilica of St Francis in Arezzo. |
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| The Martyrdom of St Judah Quiriacus, depicted on an altar frontal made in the 12th century in Catalonia, now in the Museu Nacional d’Art de Catalunya in Barcelona. (Public domain image from Wikimedia Commons.) |
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| A porphyry sarcophagus which is believed to have been that of Julian the Apostate, which is now in the Istanbul Archeological Museum in Constantinople. (Image from Wikimedia Commons by Apaleutos25, CC BY-SA 4.0.) |
Abbot Primate of the Benedictines: “Mass in the Old Rite Can No Longer Be Eliminated”
Gregory DiPippoWe are very pleased to note the following from an interview which the Benedictine Abbot Primate, Dom Jeremias Schröder, gave to the website katholische.de, (an official organ of the Catholic Church in Germany), which was published on Saturday. Dom Schröder comes from the archabbey of St Ottilien in Upper Bavaria; he was elected the 11th abbot primate on September 14, 2024. By a happy providence or coincidence, this is also the date that Summorum Pontificum became legally active in 2007, and the birthday of the Holy Father, Pope Leo.
When asked whether the co-existence of the traditional and modern rites created conflict among the Benedictines, Dom Schröder stated, “I don’t see a conflict there. Among us Benedictines, the traditional and modern liturgies coexist harmoniously. In our entire order, we have about ten abbeys that celebrate according to the old rite, most of them in France. These predominantly belong to the Congregation of Solesmes, where, however, the majority of monasteries use the new missal. Starting with the Abbey of Fontgombault, a group of monasteries has emerged that celebrate according to the old rite. They are fully integrated into their congregation. Then there is the abbey of Le Barroux with its daughter houses, which was initially Lefebvrian in orientation. After the illicit episcopal consecrations of 1988, the monastery returned to full communion with Rome and is directly under my authority as Abbot Primate. And then there is the community in Norcia. We all treat each other with respect.”Sunday, May 03, 2026
A Legend of St Helena, the Discoverer of the True Cross
Gregory DiPippoThe Bardi di Vernio chapel, located in the left transept, is dedicated to Pope St Sylvester I, and was decorated with stories of his life around the year 1335 by Maso di Banco; very little is known about this painter, but he is generally regarded as one of the most talented of Giotto’s followers. (“Maso” was a common Tuscan nickname for “Tommaso.”) This fresco, which is obviously very damaged, depicts the story that the Emperor Constantine, still a pagan and a persecutor of the Church (which he never was in reality) had leprosy, and had been advised by his doctors to bath in the blood of infants to cure it. Many Romans did believe in this kind of sympathetic magic, and while this particular story is certainly a later legend, it is by no means wholly implausible on this point. In this version, which was also read in the Roman Breviary before the Tridentine reform, Constantine was so moved by the weeping of the infants’ mothers that he refusing to commit this terrible crime. One of the great innovations of Giotto’s painting was the use of facial expressions to tell his story, which we see here imitated by Maso in the group of mothers on the right.
The Apostles Peter and Paul appear to Constantine in a dream, and tell him to seek out the Pope, St Sylvester, who is hiding from the persecution on Mt Soracte to the north of Rome, and that the Pope will cure him of his leprosy.
Saturday, May 02, 2026
Ss Athanasius of Alexandria and Gregory of Nazianzus
Gregory DiPippo![]() |
| Ss Athanasius and Cyril, from the Menologion of Basil II, 985 AD: public domain image from Wikimedia Commons. |
Much the same holds true for St Gregory of Nazianzus. He was known to the West from the mentions of him in the writings of his student, St Jerome, e.g. in the well-known treatise On Virginity against Jovinian, and the book On Illustrious Men, in which he calls him “a most eloquent man.” But again, very little of his writing was translated into Latin, and he is mentioned by St Thomas even less often than St Athanasius. Before the Tridentine reform, his feast was kept almost nowhere outside Spain, and even there, only from the very beginning of the 16th century.
In 1568, when Pope St Pius V, fulfilling a request of the Council of Trent, published a revision of the Roman Breviary, both Saints were included not just as bishops and confessors, but also as Doctors of the Church, and at the highest of three grades of feasts. The same titles and rank were also given to Ss Basil the Great and John Chrysostom; among these four, only Chrysostom had been widely celebrated with a feast thitherto. Up to that point, the title “Doctor”, and the use of the liturgical texts associated with it, had been formally granted to only four Saints whose writings were always particularly influential in the West, Ss Gregory the Great, Ambrose, Augustine and Jerome.
In the Counter-Reformation, the Roman Catholic Church was greatly concerned to assert that its traditional doctrines were those held “always, everywhere and by all”, and not medieval corruptions, as the early Protestants often claimed. The pairing of four Eastern Doctors with the traditional four Western Doctors therefore asserted the universality of those teachings which were held by Rome and defended by the Council of Trent, and also held by the Eastern churches. The inclusion of St Thomas Aquinas among them then asserted the continuity in teaching between the patristic and medieval Church, also frequently denied by the Protestants. Three of these new Eastern Doctors also have special connections to Rome and the papacy. During the second of his five exiles, St Athanasius was a guest of Pope St Julius I, who defended him against the Arian heretics; relics of Ss John Chrysostom and Gregory of Nazianzus were saved from the iconoclasts in the 8th century and brought to Rome, later to be placed in St Peter’s Basilica.
There is an aspect of St Gregory of Nazianus’ career in particular which is less well known than his role as a theologian, and which should perhaps be better known today.
For most of the half century after the death of Constantine in 337, the Roman Emperors were supporters of Arianism, rather than of the orthodox faith. It should therefore not surprise anyone that the see of the imperial capital was dominated for most of that period by Arian bishops. However, with the death in 378 of the Emperor Valens, an enthusiastic persecutor of the orthodox, and the accession of Theodosius I, the tide began to turn strongly against the Arians. St Gregory, having retired some years earlier from a bishopric which he had been practically forced into, was then living a quiet and contemplative life in a monastery near Seleucia on the southern coast of Asia Minor, over 400 miles away from the capital. A number of Catholic bishops, anxious to reestablish the true faith in Constantinople, suggested that he come to the city, not as its bishop, but as a missionary; as with his earlier bishopric, he was prevailed upon to take up this new role only with the greatest reluctance.
This brought with it many difficulties, of course, including persecution from the Arians and other heretics, which more than once came to physical violence, as well as calumnies and insults. At the Easter vigil during his first year in the city, the Arians broke into his church; Gregory himself was wounded, and another bishop present was killed. But among his many disciples, he would soon come to number not only St Jerome, but also Evagrius of Pontus, who would himself become one of the most influential theologians of the era.
The following year, Theodosius, newly baptized by an orthodox bishop, issued the Edict of Thessalonica, recognizing as the true faith “that religion which was delivered to the Romans by the divine Apostle Peter, as it has been preserved by faithful tradition, and which is now professed by the Pontiff Damasus and by Peter, Bishop of Alexandria.” Towards the end of the year, on arriving in Constantinople, he expelled the Arian bishop for refusing to embrace the Nicene confession of faith, and set Gregory in his place. It may seem that this victory was short-lived; within a few months, in the midst of every sort of intrigue and new acts of violence, Gregory obtained the emperor’s permission to resign his see and return to Nazianzus. But in point of fact, it did not matter. At the very moment when it seemed that heresy had triumphed in one of the most important and influential sees of Christendom, the true faith was reborn from a single place, and largely through the work of single man. Nor was this the first or last time such an event happened in the life of the Church. Let it therefore be an object lesson to us, never to despair over the sorry condition in which the Church finds itself in a particular time and place, including our own.





















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