Pope St John XXIII Blessing the Agnus Deis

Some interesting unused footage of Pope St John XXIII blessing the Agnus Deis in 1959, from the YouTube channel of British Pathé. (The video has no sound.)

Agnus Deis are discs of wax impressed with an image of the Lamb of God, and often with the arms of the Pope or the image of a Saint on the reverse. They were traditionally blessed by the Popes as described by the old Catholic Encyclopedia: “The great consecration of Agnus Deis took place only in the first year of each pontificate and every seventh year afterwards, which rule is still (in 1907) followed. The discs of wax are now prepared beforehand by certain monks ... On the Wednesday of Easter week these discs are brought to the Pope, who dips them into a vessel of water mixed with chrism and balsam, adding various consecratory prayers. The distribution takes place with solemnity on the Saturday following, when the Pope, after the Agnus Dei of the Mass, puts a packet of Agnus Deis into the inverted mitre of each cardinal and bishop who comes up to receive them.” The custom was a very ancient one, dating back to the early ninth-century; this photo shows some very old ones formerly kept in the Papal chapel of the Sancta Sanctorum at the Lateran, but now in the Vatican Museums.

As they were shaped like medallions, they were also used like medallions. Again from the Catholic Encyclopedia: “The(ir) symbolism ... is best gathered from the prayers used at various epochs in blessing them. As in the paschal candle, the wax typifies the virgin flesh of Christ, the cross associated with the lamb suggests the idea of a victim offered in sacrifice, and as the blood of the paschal lamb of old protected each household from the destroying angel, so the purpose of these consecrated medallions is to protect those who wear or possess them from all malign influences. In the prayers of blessing, special mention is made of the perils from storm and pestilence, from fire and flood, and also of the dangers to which women are exposed in childbirth. It was formerly the custom in Rome to accompany the gift of an Agnus Dei with a printed leaflet describing its many virtues. Miraculous effects have been believed to follow the use of these objects of piety. Fires are said to have been extinguished, and floods stayed. The manufacture of counterfeits, and even the painting and ornamentation of genuine Agnus Deis, has been strictly prohibited by various papal bulls.”

Traditional Candle Making in a Newsreel from 1949

Here’s an interesting little thing that Peter stumbled across, a newsreel made by British Pathé in 1949 which shows candles being made by hand: interesting because at 1:20, you can see them making a triple candle for the Easter vigil by wrapping three separate candles around a mould while they are still soft. (Oddly, the narration at that point is talking about something else.) This is followed by some large and very beautifully decorated Paschal candles.

Pope St John XXIII Blessing the Agnus Deis

Some interesting unused footage of Pope St John XXIII blessing the Agnus Deis in 1959, from the YouTube channel of British Pathé. (The video has no sound.)

Agnus Deis are discs of wax impressed with an image of the Lamb of God, and often with the arms of the Pope or the image of a Saint on the reverse. They were traditionally blessed by the Popes as described by the old Catholic Encyclopedia: “The great consecration of Agnus Deis took place only in the first year of each pontificate and every seventh year afterwards, which rule is still (in 1907) followed. The discs of wax are now prepared beforehand by certain monks ... On the Wednesday of Easter week these discs are brought to the Pope, who dips them into a vessel of water mixed with chrism and balsam, adding various consecratory prayers. The distribution takes place with solemnity on the Saturday following, when the Pope, after the Agnus Dei of the Mass, puts a packet of Agnus Deis into the inverted mitre of each cardinal and bishop who comes up to receive them.” The custom was a very ancient one, dating back to the early ninth-century; this photo shows some very old ones formerly kept in the Papal chapel of the Sancta Sanctorum at the Lateran, but now in the Vatican Museums.

As they were shaped like medallions, they were also used like medallions. Again from the Catholic Encyclopedia: “The(ir) symbolism ... is best gathered from the prayers used at various epochs in blessing them. As in the paschal candle, the wax typifies the virgin flesh of Christ, the cross associated with the lamb suggests the idea of a victim offered in sacrifice, and as the blood of the paschal lamb of old protected each household from the destroying angel, so the purpose of these consecrated medallions is to protect those who wear or possess them from all malign influences. In the prayers of blessing, special mention is made of the perils from storm and pestilence, from fire and flood, and also of the dangers to which women are exposed in childbirth. It was formerly the custom in Rome to accompany the gift of an Agnus Dei with a printed leaflet describing its many virtues. Miraculous effects have been believed to follow the use of these objects of piety. Fires are said to have been extinguished, and floods stayed. The manufacture of counterfeits, and even the painting and ornamentation of genuine Agnus Deis, has been strictly prohibited by various papal bulls.”

Candle Artist Offers Unique “Theological Virtues” Design for Easter 2022

Gina Switzer, whose candle work David Clayon featured at NLM five years ago, continues to offer custom-made candles for liturgical use—Paschal candles, baptismal candles, and the like (see her website for a full listing and examples).

Her Paschal Candle design for 2022 symbolizes Faith, Hope, and Charity by means of the Peacock, the Artichoke, and the Pomegranate. The following explanation was shared with NLM by the artist.

“This year’s candle is ornate in design and more elusive in symbolism.

“The goal of this design is to draw the eye of the viewer by using a kind of sumptuous beauty to begin the questions; starting with, ‘Wait...what is this candle?’; then ‘Why peacocks?,’ etc. The peacock, artichoke, and pomegranate are ancient symbols with various meanings that are not readily apparent. I tried to create a candle that is beautiful and worthy of contemplation and of asking questions.

“The Peacock as a symbol of Faith. The peacock, stunningly beautiful in color, design, and flair is more than just a pretty animal. The ancients believed its flesh to be incorruptible because it does not rot like other flesh, but only dries out. St. Augustine attested to experimenting as such in The City of God. Early Christians baptized the peacock as a symbol of eternal life and used its image on sarcophagi and murals in the catacombs. The tail feathers of the peacock molt at the end of summer and begin to grow back around Christmas, returning in full glory and more brilliant than before around Easter. The feather cycle and the connection to eternal life makes the peacock a fitting symbol of the Resurrection. On this candle the peacocks drink from living water flowing from a font, the waters of baptism. They proclaim the theological virtue of Faith based in the Resurrection, for as Paul say in 1 Cor 15:14, ‘If Christ has not been raised, then our own preaching is in vain and your faith is in vain.’

“The Artichoke as a symbol of Hope. The artichoke is a symbol of hope because the tough, thorny leaves protect the soft, tender heart. The Christian interpretation goes back to Genesis: ‘Cursed is the ground because of you; in toil you shall eat of it all the days of your life; thorns and thistles it brings forth to you’ (Gen. 3:17-18). The artichoke is a thistle. While this scripture verse truly bespeaks a terrible curse, these words should also give us hope! God could have justly punished Adam and Eve with instant physical death and damnation for their sin of disobedience. He did not. He removed them from the Garden but kept them alive as an act of His Mercy and to set the stage for our Savior, who would be born of their lineage. (Oh happy fault!) In toil we grow our food; it takes work to prepare foodstuffs to be eaten. Preparing an artichoke in particular takes perseverance and a bit of ‘hope.’ Trim the thorns. Boil the globe. Peel away each leaf. Scrape away the nascent flower. Finally, the small tender heart is revealed and the hope for a tasty morsel is revealed. In light of the Resurrection, it seems fitting to contemplate the hope of the transformation of a cursed thorny thistle into a delicacy, like our own thorny selves becoming holy through the grace of Christ’s redeeming work on the Cross. On this candle the artichoke is represented in various growth stages with the thistle flowers shooting up to meet the peacock tails as a call and response from Faith to Hope and Hope to Faith, each reaching to the other.

“The Pomegranate as a symbol of Charity. Like the peacock, the pomegranate as a symbol has deep roots in pre-Christian and Christian traditions. The multitude of seeds readily signify fertility in older traditions. But the deep red juice allows the Catholic imagination to see the flow of blood from Christ’s side pouring forth to bring new life and fecundity in the Church. An NLM article describes the pomegranate as a symbol of Charity because ‘it gives of what it contains that is most delicious and precious: it gives itself just like Christ did in his infinite charity through the Eucharist, born in his heart—that heart which he allowed to be opened for us through the striking of the spear of the soldier during his Passion, that the divine red liquid might flow forth.’ On this candle the pomegranate is centered on a symmetrical, ornate gold cross. It is also a feature in the bands representing the Alpha and the Omega, the peacock and the artichoke because, in the end, Charity remains.”

Gina noted that priests will sometimes “preach from the Paschal candle” at Mass, at baptisms and funerals. If the candle itself is decorated with a lot of symbolism, it makes it an obvious reference point for elucidation, and of course a homily about peacocks, artichokes, and pomegranates will be a lot more memorable than a homily in the style of Garrigou-Lagrange about the theological virtues.

Regina Candles (the name of Gina's enterprise) has multiple Paschal Candle designs as well as personalized baptismal candles, to promote and build a culture that recognizes children’s baptisms as their birth into the life and love of the Trinity. She encourages people to keep the candles in a known place and to light them once a year briefly on the anniversary of baptism as a way of reminding ourselves of this immense gift and mystery.

Hand-painted Paschal Candles Available for Order from Denver Artist

Laura O’Connor is a traditional Catholic artist who sells hand-painted religious artwork, devotional items, cards, and gifts at her Etsy shop. She is best known for her beautiful Paschal Candles, which she initially began selling in the Denver area by word of mouth, and now ships to other places.

Each order is painted with quality acrylics on a plain 51% beeswax candle purchased from a major candle manufacturer. Laura can paint any size candle that her suppliers manufacture, and all common sizes are listed with their respective pricing at her shop. Presently, she has four standard designs available, but is also able to an original custom design if desired. The standard designs do offer opportunities for minor customisations such as choice of scene when applicable, and parish, religious order, or diocesan coats of arms or symbols.

As it takes time to hand-paint each order, Laura’s Paschal Candles are available from July through November 15 of this year; she will not be offering them in the Spring season.

Laura may be contacted through her Etsy shop but also by her email: reginasanctorum18@gmail.com.

Design 1: The Glorious Paschal Candle

Detail of the same

Design 2: Lamb of God Paschal Candle

Detail of same

Design 3 (the simplest): Alleluia Paschal Candle

Continue Reading this Article. . .

God as Fire

As a layman in the pews, I often find myself wondering why the clergy do not preach more often on the symbolic meaning of the rites, gestures, and objects of the liturgy, not to mention the texts (especially the Propers of the Mass — in those fortunate places that utilize the Propers). Since the liturgy is the most obvious common object of perception and meditation for everyone present, it seems both useful and decorous to preach in such a way that the faithful may be led into a deeper understanding of what they are seeing and doing. Admittedly, this could get heavy-handed and risk didactic overload, but at least some of the content of a given liturgy could be brought in — I’m referring here not to the readings, which are what get the lion’s share of attention, but the other elements of the liturgy that take place around the readings, as it were. A sign that this is fair game can be seen in the remarkable amount of patristic and medieval preaching that concerns itself with unpacking the meaning of the liturgy for the faithful.

A good opportunity is rapidly approaching: I refer to the great Easter Vigil with its kindling of the new fire and the lighting of the Paschal candle. We have probably all heard some reference in homilies to fire and light, but it seems to get stuck in generalities, which have the effectiveness of clichés. Why not follow in the footsteps of St. Thomas Aquinas and ponder the deep symbolism behind fire — particularly, the reasons why God Himself is compared with fire? In his Scripture commentaries, the Angelic Doctor frequently comments on why God and His action are compared with fire.

• At Super Isaiam 33, three reasons are given: fire purges, sets other things aflame, and condemns.
• At Super Hebraeos 12, lec. 5, where fire is said to have, among sensible things, more nobility, more brightness, more activity, more altitude, and more purifying and consuming power.
• At Super Isaiam 30, five reasons are given for symbolizing charity as fire: it illuminates, boils up or heats [exestuat], turns things towards itself, makes one ready to act, and draws upwards.
• Super Ieremiam 5 gives five reasons why the word of the Lord is said to be a fire: it illuminates, sets aflame, penetrates, melts, and consumes the disobedient. 

Such descriptions of fire frequently parallel Thomas’s discussions of the effects of love. For example, in both Scriptum super Sent. III.27.1.1 ad 4 and Summa theologiae I-II.28.5, Thomas speaks of the way in which intense love causes fervor or burning, how it melts or “liquifies” the heart, and how it makes the lover penetrate into the inmost recesses of the beloved. This, indeed, is why extasis or ecstasy (for Aquinas, one of the many effects of love) is so aptly compared with fire, which seems to be ever rising up above itself and disappearing into the air, always tending outwards and upwards. Thomas charmingly notes that it is the custom of lovers to be unable to keep their love silent, but it bursts forth from them because its flames cannot be contained under their breast.[1] And elsewhere: “Burning comes from an abundance of heat; hence the Spirit is called burning, because, owing to an abundance of divine love, the whole man burns up into God.”[2]

The most ample comment on the symbolism of fire for God comes from Thomas's Commentary on Isaiah, chapter 10:

       Take note on those words, and He will be a light to Israel in fire, that our God is called ‘fire’ [for four reasons]. First of all, because it is subtle; and regarding this He is called subtle, [first] as regards substance, for He is called ‘spirit.’ Jn. 4: “God is spirit.” Secondly, as regards knowledge, because He is capable of penetrating. Heb. 4: “The word of the Lord is alive and active, more penetrating than any sword.” Thirdly, as regards appearance, because He is invisible. Job 28: “Whence therefore [is your] wisdom?”, and the same below: “It is hidden from the eyes of all the living.” Or Job 36: “All men [see him, every one beholds from far off],” etc.
       The second reason is that it is bright. Now, that He is bright is evident first from the fact that He makes something manifest to the intellect. Ps. 35: “In your light we shall see light.” Secondly, because He delights the affection. Tob. 5: “what kind of joy is there for me, for I sit in darkness and I do not see the light of heaven?” Thirdly, because He directs one’s acts. Below, c. 60: “The nations shall walk in your light, and the kings in the splendor of your rising.”
       The third reason is that it is hot; and this, first, because He vivifies. Job 39: “you perhaps will warm them in the dust?” Lam. 1: “From above He has sent fire into my bones and has chastised me.” Secondly, because He cleanses. Eccl. 38: “the vapor of the fire wastes his flesh, and He fights with the heat of the furnace.” Thirdly, because He devastates. Dt. 32: “A fire is kindled in my wrath, and shall burn even to the lowest hell.”
       The fourth reason is that it is light; and this, first, on account of motion [towards the end], because “the Lord made everything for the sake of Himself” (Prov. 16). Secondly, on account of His place, because “He dwells in the heights” (Ps. 112). Thirdly, because of His mode of unmixedness. Wis. 7: “[for wisdom is more active than all active things] and reaches everywhere by reason of her purity, for she is a vapor of the power of God [and a certain pure emanation of the glory of the almighty God, and therefore no defiled thing comes into her].”[3]

It is good to be reminded again, through such exquisite texts that demonstrate an Augustinian mastery of exegesis and lay out for us a feast of mutually illuminating cross-references, that the Angelic Doctor was, and saw himself as, primarily a commentator on Scripture, a Magister Sacrae Paginae, a teacher of the sacred page. The rest of his eminent intellectual activities flowed from the systematized lectio divina of the schools. This may also suggest a kind of reconciliation between preaching on the lectionary and preaching on the liturgical rites and symbols. In the end, those rites and symbols are themselves rooted in Scripture, and Scripture, in turn, is powerfully illustrated and enacted by them. Expounding the meaning of the liturgy is therefore not opposed to reflecting on the readings but is the essential context for it.

Moses and the Burning Bush (from Notre Dame in Paris)

NOTES
[1] Super Rom. 8, lec. 7 (Marietti, 127): “Hic enim amantium mos est, ut amorem suum silentio tegere nequeant: sed necessariis suis et charis asserunt et produnt, et flammas suas infra pectus cohibere non possunt. Enarrant ea frequentius, ut ipsa assiduitate narrandi amoris sui solatium capiant, et refrigeria immensi ardoris assumant.”
[2] Super Rom. 12, lec. 2, §988: “Procedit autem fervor ex abundantia caloris, unde fervor spiritus dicitur, quia propter abundantiam divinae dilectionis totus homo fervet in Deum” (Marietti 1:183). At ST I.108.5, Thomas gives as the first reason why the seraphim are named from fire: “Primo quidem, motum, qui est sursum, et qui est continuus. Per quod significatur quod indeclinabiliter moventur in Deum.”
[3] Super Isaiam 10 (28:76.330–63): “Nota super illo uerbo Et erit lumen Israel in ignem, quod Deus noster dicitur ignis primo quia subtilis; et quantum ad hoc dicitur subtilis quantum ad substantiam, quia dicitur spiritus, Io. IV «spiritus est Deus»; secundo quantum ad scientiam, quia penetrabilis, Heb. IV «Viuus est sermo Dei et efficax et penetrabilior omni gladio ancipiti»; tertio quantum ad apparentiam, quia inuisibilis, Iob XXVIII «Vnde ergo sapientia?», et infra eodem «Abscondita est ab oculis omnium uiuentium», uel Iob XXXVIII: «Omnes homines».
Secundo quia lucidus: quod autem sit lucidus, patet primo quia manifestat quantum ad intellectum, Ps. «In lumine tuo uidebimus lumen»; secundo quia delectat quantum ad affectum, Tob. V «quale gaudium est michi, qui in tenebris sedeo et lumen celi non uideo?»; tertio quia dirigit quantum ad actum, infra LX «Ambulabunt gentes in lumine tuo et reges in splendore ortus tui».
Tertio quia calidus: et hoc primo quia uiuificat, Iob XXXIX: «Tu forsitan in puluere calefacies ea?», Tren. I «De excelsis misit ignem in ossibus meis et erudiuit me»; secundo quia purgat, Eccli. XXXVIII «Vapor ignis urit carnes ejus et in calore fornacis concertatur»; tertio quia deuastat, Deut. XXXII «Ignis succensus est in furore meo et ardebit usque ad inferni nouissima».
Quarto quia leuis; et hoc primo propter motum, quia «uniuersa propter semet ipsum operatus est Dominus», Prou. XVI; secundo propter situm, quia «in altis habitat», Ps.; tertio propter incommixtionis modum, Sap. VIII «Attingit autem ubique propter munditiam suam, uapor est enim uirtutis Dei».”

Pope St John XXIII Blessing the Agnus Deis

Some interesting unused footage of Pope St John XXIII blessing the Agnus Deis in 1959, from the YouTube channel of British Pathé. (The video has no sound.)

Agnus Deis are discs of wax impressed with an image of the Lamb of God, and often with the arms of the Pope or the image of a Saint on the reverse. They were traditionally blessed by the Popes as described by the old Catholic Encyclopedia: “The great consecration of Agnus Deis took place only in the first year of each pontificate and every seventh year afterwards, which rule is still (in 1907) followed. The discs of wax are now prepared beforehand by certain monks ... On the Wednesday of Easter week these discs are brought to the Pope, who dips them into a vessel of water mixed with chrism and balsam, adding various consecratory prayers. The distribution takes place with solemnity on the Saturday following, when the Pope, after the Agnus Dei of the Mass, puts a packet of Agnus Deis into the inverted mitre of each cardinal and bishop who comes up to receive them.” The custom was a very ancient one, dating back to the early ninth-century; this photo shows some very old ones formerly kept in the Papal chapel of the Sancta Sanctorum at the Lateran, but now in the Vatican Museums.

As they were shaped like medallions, they were also used like medallions. Again from the Catholic Encyclopedia: “The(ir) symbolism ... is best gathered from the prayers used at various epochs in blessing them. As in the paschal candle, the wax typifies the virgin flesh of Christ, the cross associated with the lamb suggests the idea of a victim offered in sacrifice, and as the blood of the paschal lamb of old protected each household from the destroying angel, so the purpose of these consecrated medallions is to protect those who wear or possess them from all malign influences. In the prayers of blessing, special mention is made of the perils from storm and pestilence, from fire and flood, and also of the dangers to which women are exposed in childbirth. It was formerly the custom in Rome to accompany the gift of an Agnus Dei with a printed leaflet describing its many virtues. Miraculous effects have been believed to follow the use of these objects of piety. Fires are said to have been extinguished, and floods stayed. The manufacture of counterfeits, and even the painting and ornamentation of genuine Agnus Deis, has been strictly prohibited by various papal bulls.”

A Hand-decorated Paschal Candle from Ireland

The decoration of the Paschal candle for 2018 at Silverstream Monastery was the work of the community’s subprior, Dom Benedict Maria Andersen, whose typographical work we have featured before.

Dom Benedict took his inspiration from an authentic Irish penal crucifix in the possession of a friend of the monastery. The penal crucifix, which was loaned to the monastery for all to admire and venerate, dates from the 1700s.

This is a splendid example of the kind of customized work that we need to see flourish once again in local communities, be they religious houses, parishes, or school chapels. It is refreshing and inspiring to see something that is made by hand, made for only one place, and offered up for only one year. Hand-decorated candles are returning slowly, following in the wake of better vestments and works of all sorts in recent years. May the renewal of fine arts in the service of the Church find more and more success.

Medieval Paschal Candle Holder

I was pleased to hear recently that as a result of an article last January, Gina Switzer received orders from around the country for just over 30 paschal candles. When she was telling me about this, she also mentioned that she had seen pictures of medieval paschal candle holders, and it had occurred to her that this would be a good option for parishes as well.

At the risk of reducing Gina’s commissions, I thought I would pass this idea on to you. This would be something that parishes might consider commissioning from an artist. It would require a carpenter to create the wooden frame into which a series of panel paintings in egg tempera could be laid. Once installed, it would allow for a greatly reduced candle budget, at least, since the candle that goes in it is relatively small and plain.

The only example I could find was this one which is at the Cloisters Museum in New York City, from the 14th century. I would love to know if readers can provide us with any other examples - perhaps even some contemporary examples - that might inspire further 21st century artistic activity in service of the Church!

A Combination Tenebrae Hearse and Paschal Candlestick

From the Facebook page of the Fraternity of St Peter’s English apostolates comes this rather ingenious explanation of how they also use a Tenebrae hearse  as a Paschal candlestick. Although this is written a humorous vein, the device itself is real, as you can see in the pictures below.

LITURGICAL REVOLUTION!
Exclusive release by FSSP England [owner of the patent & trademark all over the tradisphere - please use this acronym for your order: tiopcsth]: The two-in-one paschal-candle-stand-tenebrae-hearse!

INTERVIEW WITH THE INVENTORS
- What was your inspiration?
- Eco-friendliness matters to us. We wanted to spare the trees! We started with a bulk order of Baronius EF missals for our parishioners, thus avoiding the waste of hundreds of printed Sunday sheets, normally thrown into the bin after being used once only. Then we recycled our palms from last Palm Sunday, according to the EF rubrics stating that those must provide the combustible for the ashes blessed on Ash Wednesday the following year. Lastly, we saved on cleaning agents for our kneeling pads, suggesting people’s knees may rest on them rather than their feet: it made the pads much cleaner and nature-unfriendly detergents were got rid off.

- Thank you for these encouraging examples of liturgical eco-friendliness. We now come to your liturgical revolution. As a reminder for our readers, a tenebrae hearse is the free standing triangular candelabra holding fifteen unbleached candles, extinguished one after the other while singing Matins and Lauds in the Extraordinary Form during the Sacred Triduum. Had you worked on tenebrae hearses before?
- Yes, while in Reading we made a first attempt with wrought iron. It worked well and another church in the South requested to copy it. It is now used in London. But for all our attempts, we could not find a hearse when we moved North. All we had was a good sturdy oak stand for the paschal candle. Rather than have another stand and the triangle made from scratch, we thought it would be much simpler to design only the triangle, so as to rest on the spike of the existing paschal candle stand.

- But where will your paschal candle fit then? Do you have a spare stand for it?
- This is the trick! No need for a second one, as by definition, the paschal candle is never used but after tenebrae are completed. Tenebrae end on Holy Saturday morning. Extinguishing the fifteen candles on the hearse one by one symbolises Christ’s passion and death. (See my note below.) But the paschal candle blessed at the Paschal Vigil symbolises Christ rising. All we need to do is take the triangle off the spike in the morning and set the paschal candle on it instead in the evening. Theologically, it makes a lot of sense to use one and the same stand for the two successive liturgical stages. It is death and resurrection.

- Congratulations! This is a true liturgical revolution. As to the future, if we may enquire, rumour has it that Apple contacted you to produce their next i-hearse...
- We are not at liberty to comment on this. But we invite all to come to St Mary’s Warrington during Holy Week and pray with us for a very soul-friendly Sacred Triduum.

NLM editor’s comment: Traditionally, the extinguishing of the candles during Tenebrae was understood to represent the Apostles and the two Marys, Magdalene and the wife of Cleophas, falling asleep during the Lord’s Passion, while the last candle, which is not extinguished on the hearse, represents Christ Himself, who remains the Light of the World even in His suffering and death. (I once read somewhere that the SRC several times forbade a custom which emerged from this interpretation, that of having a white candle for the last one that is not extinguished, rather than one of unbleached wax.) The removal of the candle and its placement behind the altar during the Miserere at the end of Lauds symbolizes His burial, and taking it out and showing to the people looks forward to the Rsurrection. This tradition would make the use described here even more appropriate, since the Paschal candle would then stand exactly where the last candle stands on the hearse.

It may be objected that a Tenebrae hearse should be very somber and simple, while it is more appropriate that a Paschal candle should be something festive and beautiful, as seen, for example, in the contrast between the two objects in the Roman basilica of Santa Maria in Trastevere.

In the case of the two-in-one device seen above, this could easily be remedied by placing decorations on it when it is used as a Paschal candlestick, which was generally done anyway back in the day.

God as Fire

As a layman in the pews, I often find myself wondering why the clergy do not preach more often on the symbolic meaning of the rites, gestures, and objects of the liturgy, not to mention the texts (especially the Propers of the Mass — in those fortunate places that utilize the Propers). Since the liturgy is the most obvious common object of perception and meditation for everyone present, it seems both useful and decorous to preach in such a way that the faithful may be led into a deeper understanding of what they are seeing and doing. Admittedly, this could get heavy-handed and risk didactic overload, but at least some of the content of a given liturgy could be brought in — I’m referring here not to the readings, which are what get the lion’s share of attention, but the other elements of the liturgy that take place around the readings, as it were. A sign that this is fair game can be seen in the remarkable amount of patristic and medieval preaching that concerns itself with unpacking the meaning of the liturgy for the faithful.

A good opportunity is rapidly approaching: I refer to the great Easter Vigil with its kindling of the new fire and the lighting of the Paschal candle. We have probably all heard some reference in homilies to fire and light, but it seems to get stuck in generalities, which have the effectiveness of clichés. Why not follow in the footsteps of St. Thomas Aquinas and ponder the deep symbolism behind fire — particularly, the reasons why God Himself is compared with fire? In his Scripture commentaries, the Angelic Doctor frequently comments on why God and His action are compared with fire.

• At Super Isaiam 33, three reasons are given: fire purges, sets other things aflame, and condemns.
• At Super Hebraeos 12, lec. 5, where fire is said to have, among sensible things, more nobility, more brightness, more activity, more altitude, and more purifying and consuming power.
• At Super Isaiam 30, five reasons are given for symbolizing charity as fire: it illuminates, boils up or heats [exestuat], turns things towards itself, makes one ready to act, and draws upwards.
• Super Ieremiam 5 gives five reasons why the word of the Lord is said to be a fire: it illuminates, sets aflame, penetrates, melts, and consumes the disobedient. 

Such descriptions of fire frequently parallel Thomas’s discussions of the effects of love. For example, in both Scriptum super Sent. III.27.1.1 ad 4 and Summa theologiae I-II.28.5, Thomas speaks of the way in which intense love causes fervor or burning, how it melts or “liquifies” the heart, and how it makes the lover penetrate into the inmost recesses of the beloved. This, indeed, is why extasis or ecstasy (for Aquinas, one of the many effects of love) is so aptly compared with fire, which seems to be ever rising up above itself and disappearing into the air, always tending outwards and upwards. Thomas charmingly notes that it is the custom of lovers to be unable to keep their love silent, but it bursts forth from them because its flames cannot be contained under their breast.[1] And elsewhere: “Burning comes from an abundance of heat; hence the Spirit is called burning, because, owing to an abundance of divine love, the whole man burns up into God.”[2]

The most ample comment on the symbolism of fire for God comes from Thomas's Commentary on Isaiah, chapter 10:

       Take note on those words, and He will be a light to Israel in fire, that our God is called ‘fire’ [for four reasons]. First of all, because it is subtle; and regarding this He is called subtle, [first] as regards substance, for He is called ‘spirit.’ Jn. 4: “God is spirit.” Secondly, as regards knowledge, because He is capable of penetrating. Heb. 4: “The word of the Lord is alive and active, more penetrating than any sword.” Thirdly, as regards appearance, because He is invisible. Job 28: “Whence therefore [is your] wisdom?”, and the same below: “It is hidden from the eyes of all the living.” Or Job 36: “All men [see him, every one beholds from far off],” etc.
       The second reason is that it is bright. Now, that He is bright is evident first from the fact that He makes something manifest to the intellect. Ps. 35: “In your light we shall see light.” Secondly, because He delights the affection. Tob. 5: “what kind of joy is there for me, for I sit in darkness and I do not see the light of heaven?” Thirdly, because He directs one’s acts. Below, c. 60: “The nations shall walk in your light, and the kings in the splendor of your rising.”
       The third reason is that it is hot; and this, first, because He vivifies. Job 39: “you perhaps will warm them in the dust?” Lam. 1: “From above He has sent fire into my bones and has chastised me.” Secondly, because He cleanses. Eccl. 38: “the vapor of the fire wastes his flesh, and He fights with the heat of the furnace.” Thirdly, because He devastates. Dt. 32: “A fire is kindled in my wrath, and shall burn even to the lowest hell.”
       The fourth reason is that it is light; and this, first, on account of motion [towards the end], because “the Lord made everything for the sake of Himself” (Prov. 16). Secondly, on account of His place, because “He dwells in the heights” (Ps. 112). Thirdly, because of His mode of unmixedness. Wis. 7: “[for wisdom is more active than all active things] and reaches everywhere by reason of her purity, for she is a vapor of the power of God [and a certain pure emanation of the glory of the almighty God, and therefore no defiled thing comes into her].”[3]

On this (unofficial) octave day of the feast of St. Thomas, it is good to be reminded again, through such exquisite texts that demonstrate an Augustinian mastery of exegesis and lay out for us a feast of mutually illuminating cross-references, that the Angelic Doctor was, and saw himself as, primarily a commentator on Scripture, a Magister Sacrae Paginae, a teacher of the sacred page. The rest of his eminent intellectual activities flowed from the systematized lectio divina of the schools. This may also suggest a kind of reconciliation between preaching on the lectionary and preaching on the liturgical rites and symbols. In the end, those rites and symbols are themselves rooted in Scripture, and Scripture, in turn, is powerfully illustrated and enacted by them. Expounding the meaning of the liturgy is therefore not opposed to reflecting on the readings but is the essential context for it.

Moses and the Burning Bush (from Notre Dame in Paris)

NOTES
[1] Super Rom. 8, lec. 7 (Marietti, 127): “Hic enim amantium mos est, ut amorem suum silentio tegere nequeant: sed necessariis suis et charis asserunt et produnt, et flammas suas infra pectus cohibere non possunt. Enarrant ea frequentius, ut ipsa assiduitate narrandi amoris sui solatium capiant, et refrigeria immensi ardoris assumant.”
[2] Super Rom. 12, lec. 2, §988: “Procedit autem fervor ex abundantia caloris, unde fervor spiritus dicitur, quia propter abundantiam divinae dilectionis totus homo fervet in Deum” (Marietti 1:183). At ST I.108.5, Thomas gives as the first reason why the seraphim are named from fire: “Primo quidem, motum, qui est sursum, et qui est continuus. Per quod significatur quod indeclinabiliter moventur in Deum.”
[3] Super Isaiam 10 (28:76.330–63): “Nota super illo uerbo Et erit lumen Israel in ignem, quod Deus noster dicitur ignis primo quia subtilis; et quantum ad hoc dicitur subtilis quantum ad substantiam, quia dicitur spiritus, Io. IV «spiritus est Deus»; secundo quantum ad scientiam, quia penetrabilis, Heb. IV «Viuus est sermo Dei et efficax et penetrabilior omni gladio ancipiti»; tertio quantum ad apparentiam, quia inuisibilis, Iob XXVIII «Vnde ergo sapientia?», et infra eodem «Abscondita est ab oculis omnium uiuentium», uel Iob XXXVIII: «Omnes homines».
Secundo quia lucidus: quod autem sit lucidus, patet primo quia manifestat quantum ad intellectum, Ps. «In lumine tuo uidebimus lumen»; secundo quia delectat quantum ad affectum, Tob. V «quale gaudium est michi, qui in tenebris sedeo et lumen celi non uideo?»; tertio quia dirigit quantum ad actum, infra LX «Ambulabunt gentes in lumine tuo et reges in splendore ortus tui».
Tertio quia calidus: et hoc primo quia uiuificat, Iob XXXIX: «Tu forsitan in puluere calefacies ea?», Tren. I «De excelsis misit ignem in ossibus meis et erudiuit me»; secundo quia purgat, Eccli. XXXVIII «Vapor ignis urit carnes ejus et in calore fornacis concertatur»; tertio quia deuastat, Deut. XXXII «Ignis succensus est in furore meo et ardebit usque ad inferni nouissima».
Quarto quia leuis; et hoc primo propter motum, quia «uniuersa propter semet ipsum operatus est Dominus», Prou. XVI; secundo propter situm, quia «in altis habitat», Ps.; tertio propter incommixtionis modum, Sap. VIII «Attingit autem ubique propter munditiam suam, uapor est enim uirtutis Dei».”

Paschal Candles

Here are some examples of Paschal candles created by Gina Switzer of Columbus, Ohio. Her parish is St Patrick’s in Columbus, the Dominican church in the city.

I give you this information for two reasons. The first is that if your parish needs a paschal candle, you might consider commissioning one from Gina. Her website ginaswitzer.com has details of how to order and the designs that she has done in the past. So far she has six main themes, and churches ask for modifications that make it appropriate to their parish. On the Paschal page of the website there is a downloadable catalog that has details. Smaller candles also make good gifts, such as named candles for baptisms.

I asked Gina about her methods and she told me the following: “We design and decorate liturgical grade, 51% beeswax Paschal candles. We have designed images that express Christological themes, and so they are appropriate for their liturgical use. I create the artwork which is then reproduced onto a thin gelatin film. Metal leaf is applied by hand along with some hand painting directly onto the candle before the gelatin is applied, also by hand, to the candle. Because each candle is custom-made to order, our basic designs can be tweaked to fit a particular parishes needs; for example, the Dominican cross for a Dominican parish, a Celtic border for St. Patrick parish, and so on.”

The other reason for writing about this is that I hope it might inspire other artists to do the same. I am regularly asked by priests where they can get hold of Paschal candles, as they find the designs in the usual catalogs unsatisfactory. There seems to be a dearth in the market.

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The Easter Vigil at the London Oratory

Here are photographs of last night's Easter Vigil at the London Oratory. 2015 is the 500th anniversary of the Birth of St Philip Neri which can be seen painted on the Paschal Candle in the first photograph.

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