Friday, May 08, 2026
The Shrine of St Michael the Archangel on Mount Gargano
Gregory DiPippoSunday, September 29, 2024
Saint Michael, Sacred Liturgy, and the Restoration of Beauty
Robert KeimI have the good fortune of being obligated, for professional reasons, to regularly spend quality time with a wide variety of
(digitized) medieval manuscripts. One result of this enlightening research is an appreciation for the diversity of artistic styles in pre-Renaissance Western
culture. Sometimes we may find ourselves thinking in terms of an oversimplified
dichotomy between highly iconographic modes in the East and a mildly symbolic
proto-naturalism in the West. In reality, pre-modern religious paintings in
East and West form a diverse continuum of artistic techniques, and a few
outstanding artifacts can help us to reflect upon this.
One would be the Lindisfarne Gospels, with its enigmatic
fusion of styles and astonishing decorations:
Another is the book of biblical scenes painted by William de
Brailes, an English illuminator active during the thirteenth century. The
example below, which depicts the Israelites worshipping the golden calf, has
strongly iconographic features.
The Codex Calixtinus, dating to the mid-twelfth century and associated with both western France and northern Spain, is highly stylized and difficult to categorize:
Also from Spain, perhaps Segovia or Burgos, is the Hours of Infante Don Alfonso of Castile. The foliate ornamentation and grisaille-with-gold tonality in this book are deeply pleasing to me; there is an intriguing sense of mysticism in the serene faces and expressionistic scenes, along with a strong note of surreality in the surrounding details.
However, when it comes to reimagining artistic dichotomies, nothing quite compares to a twelfth-century masterpiece known as the Stammheim Missal. The illuminations in this manuscript—almost sui generis in style, and apparently the work of one extraordinarily talented monk—combine vibrant colors, curvilinear forms, strong geometries, simplified human figures, fascinating visual poetry, and profound visual theology into yet more compelling evidence that traditional Christian liturgy was the heart of Europe’s artistic genius.
![]() |
| The personification of Wisdom beneath God the Creator. |
The Stammheim Missal emerged from that fundamental engine of medieval learning and creativity: the Benedictine scriptorium. It was made in the twelfth century at Hildesheim Abbey, in north-central Germany, and eventually found its way to the Getty Museum in Los Angeles; reproductions can be found on the Getty’s website. Despite the fact that it was produced over eight hundred years ago, all the pages are intact, the colors haven’t faded, and the precious metals still shine. Rarely do I see such vivid proof that skilled craftsmen working with authentic, natural materials can produce artifacts of astounding quality and longevity, even in the total absence of advanced technology.
![]() |
| David with companion musicians. |
The Michaeliskirche—the abbey church of Hildesheim—is a superb Romanesque structure. It was dedicated to St. Michael the Archangel on his feast day, September 29th, in the year 1022, and rededicated to him on the same day nine years later, when construction was complete. When I reflect on the life expectancy of modern buildings and institutions, the longevity is almost breathtaking. The church you see below was built one thousand years ago.
![]() |
In the culture that produced the monastery that produced the Stammheim Missal, the feast of St. Michael the Archangel was a high holy day and a rich folkloric celebration. It was also, of course, a very special day for the monks of Hildesheim, who were careful to colorfully accentuate the celebration of their patron in the missal’s September calendar page:
And the historiated initial that introduces St. Michael’s feast day is a captivating and mysterious interplay of stolid rectangles, absorbing curves, bold colors, mischievous beasts, and diversely occupied humans.
As Gregory DiPippo explained in an NLM article published on this same day two years ago, this feast is of venerable antiquity and is not restricted exclusively to St. Michael:
The traditional title of today’s feast is “The Dedication of St Michael the Archangel,” a term already found ca. 650 A.D. in the lectionary of Wurzburg, the oldest of the Roman Rite that survives, and in the ancient sacramentaries....
Despite the fact that the feast’s title refers specifically only to St Michael, September 29th is really the feast of all the Angels, as stated repeatedly in the texts of both the Office and Mass.
That Michael shares his feast with other angels subtracts
nothing from the honor that we give to him on this day. Rather, it reinforces
his exalted role in salvation history and Christian spirituality, for his
celestial renown was gained not as a champion in single combat but as the
victorious commander of the angelic host. And indeed, this is precisely how the
Stammheim illuminator portrayed him in the portrait that precedes the prayers
for his feast:
You can further explore the historical context and theological resonance of this remarkable image in an article that I co-authored with my Substack colleague Amelia Sims McKee. It includes vibrant, wonderfully detailed images of the painting, and I hope that it might serve as an enjoyable and profitable meditation for this great feast, nowadays sadly understated, of the prince of the heavenly armies.
Dr. Ena Giurescu Heller, former professor of art history and specialist in medieval art, makes a crucial observation about artwork produced in the Middle Ages. She suggests that the modern “understanding of and response to medieval religious art is completely different (antithetical, really) to the response of its contemporaries.” Medieval Christians were surrounded by church buildings, stained-glass narratives, frescoes, statues, vessels, vestments, and illuminations that, despite their aesthetic magnificence,
were neither objects of any veneration (least of all aesthetic), nor ends unto themselves. They were tools—tools for the liturgy, and ... tools for transporting their beholders to the divine realm they symbolize and serve.
Furthermore, these tools for the liturgy were also inspired
by the liturgy, which preceded them and which even in the absence of
sumptuous visual or musical artwork was artistic in the most fundamental and transcendent
sense of the word.
I say again: traditional Christian liturgy was the heart of
Europe’s artistic genius. The artistic consciousness of Western civilization
has suffered from long, dismal years of cardiac arrest. And yet, as the
psalmist says, in the sight of God all these years are “as yesterday when it is
past, and as a watch in the night.” For three days and three nights the heart
of Our Lord was still. The resurrection will come, and in the meantime, let us
pray that St. Michael press onward in his campaign against the Church’s ancient
Enemy. We know, as Milton did, who the victor will be:
Now Night her course began and over Heaven
Inducing darkness grateful truce imposed
And silence on the odious din of war.
Under her cloudy covert both retired,
Victor and vanquished: On the foughten field
Michaël and his angels prevalent
Encamping, placed in guard their watches round,
Cherubic waving fires. On th’ other part,
Satan with his rebellious disappeared.
Posted Sunday, September 29, 2024
Labels: Art, Beauty and the Liturgy, Medieval Art, Robert Keim, St. Michael
Tuesday, September 24, 2024
Arranging the Breviary for the Rest of the Liturgical Year
Gregory DiPippoThis is our annual posting on one of the discrepancies between the traditional arrangement of the Roman Breviary and the new rubrics of 1960; this year, the first such discrepancy appears at Vespers this coming Saturday. In some years, but not this one, there is also a discrepancy between the traditional placement of the September Ember Days, and their placement according to the new rubrics.
The first Sunday of each of these months is the day on which the Church begins to read a new set of Scriptural books at Matins, with their accompanying responsories, and Magnificat antiphons at Saturday Vespers. These readings are part of a system which goes back to the sixth century: in August, the books of Wisdom are read; in September, Job, Tobias, Judith and Esther; in October the books of the Maccabees; in November, Ezekiel, Daniel, and the twelve minor Prophets. (September is actually divided into two sets of readings, Job having a different set of responsories from the other three books.)
![]() |
| Folio 99r of the antiphonary of Compiègne, 860-77 AD, with the responsories taken from the books of the Maccabees. (Bibliothèque nationale de France. Département des Manuscrits. Latin 17436) |
In the 1960 revision, however, the first Sunday of the months from August to November is always that which occurs first within the calendar month. According to this system, the first Sunday of October is the 6th this year.
This change also accounts for one of the many peculiarities of the 1960 Breviary, the fact that November has four weeks, which are called the First, Third, Fourth and Fifth. According to the older calculation, November has five weeks when the 5th of the month is a Sunday, as it was last year. (This is also the arrangement that has the shortest possible Advent of three weeks and one day.) According to the newer calculation, November may have three or four weeks, but never five. In order to accommodate the new system, one of the weeks had to be removed; the second week of November was chosen, to maintain the tradition that at least a bit of each of the Prophets would continue to be read in the Breviary. However, in some years, November only has three weeks, and the first one is also omitted, but this is not the case this year.
![]() |
The central panel of The Last Judgment, by Rogier van der Weyden, 1446-52, showing Christ above, and below, St Michael weighing the souls of the dead. |
September 29 – the 1st Sunday of October (XIX after Pentecost, commemorated on the feast of St Michael and All Angels)
October 6 – the 2nd Sunday of October (XX after Pentecost)
October 13 – the 3rd Sunday of October (XXI after Pentecost)
October 20 – the 4th Sunday of October (XXII after Pentecost)
November 3 – the 1st Sunday of November (IV after Epiphany resumed)
November 10 – the 3rd Sunday of November (V after Epiphany resumed)
November 17 – the 4th Sunday of November (VI after Epiphany resumed)
November 24 – the 5th Sunday of November (XXIV and last after Pentecost)
The Sundays for the rest of the liturgical year, according to the 1960 system:
September 29 – the 5th Sunday of September (XIX after Pentecost, commemorated)
October 6 – the 1st Sunday of October (XX after Pentecost)
October 13 – the 2nd Sunday of October (XXI after Pentecost)
October 20 – the 3rd Sunday of October (XXII after Pentecost)
October 27 – the 4th Sunday of October (XXIII after Pentecost, omitted on the feast of Christ the King)
November 3 – the 1st Sunday of November (IV after Epiphany resumed)
November 10 – the 3rd Sunday of November (V after Epiphany resumed)
November 17 – the 4th Sunday of November (VI after Epiphany resumed)
November 24 – the 5th Sunday of November (XXIV and last after Pentecost)
If this all seems a little complicated, bear in mind that the oldest arrangement of the Mass lectionary that we know of was even more so. The oldest lectionary of the Roman Rite, a manuscript now in Wurzburg, Germany, dates to ca. 700, and represents the system used at Rome about 50 years earlier. It has a very disorganized and incomplete set of readings for the period after Pentecost; the Sundays are counted as 2 after Pentecost, 7 after Ss Peter and Paul, 5 after St Lawrence, and 6 after St Cyprian, a total of only 20. There are also ten Sundays after Epiphany, even though Septuagesima is also noted in the manuscript, and the largest number of Sundays that can occur between Epiphany and Septuagesima is only six.
Wednesday, May 08, 2024
The Apparition of St Michael
Gregory DiPippo![]() |
| St Michael, by Fra Filippo Lippi |
However, the Roman Martyrology refers the September feast to neither of these churches, but rather to the shrine of St Michael on Mount Gargano in the Puglia region of Italy, generally honored as the first church dedicated to him in the West. Today’s feast is called the “Apparition of St Michael” from a story which takes places at the end of the 5th century, and is not reported consistently in ancient sources. The version given in the Breviary is that a bull belonging to a fellow named Garganus wandered into and got stuck in a cave on the side of the mountain. When someone launched an arrow at it, it flew back at him; the inhabitants of the area then asked their bishop what to do about this portent. The bishop declared that they should pray and fast for three days, after which, St Michael appeared to him and told him that the place was under his protection, and a church should be built there in his honor.
![]() |
| The apparition of St Michael on Mt Gargano, by Cesare Nebbia and students, from the Gallery of the Maps in the Vatican Museums, 1580-84. |
In northern Europe, Mont-Saint-Michel holds the same place that Monte Gargano holds in Italy, and the feast of St Michael’s apparition there is kept on October 16th. In the Sarum Breviary, the Matins lessons for this feast begin with an acknowledgement that the devotion to him on Gargano was older. “After the Frankish nation, marked by the grace of Christ, far and wide throughout the provinces on all sides had subdued the necks of the proud, the Archangel Michael, who is set in charge of Paradise, who had formerly shown that he wished to be venerated on Mount Gargano, by many signs showed that now he ought to be honored in the place which is called by the inhabitants ‘Tumba.’ ” (Mons Tumba is the Latin name for the Mont-Saint Michel.) The story continues that in the early 8th century, St Michael appeared three times to the local bishop, St Aubert, and ordered him to build not just a sanctuary, but a replica of the one on Gargano.
The Byzantine Rite keeps a feast on a similar line, related to a shrine in Phrygia, in west-central Asia Minor. At Chonai, near the city of Colossae, (the Christians of which received a letter from St Paul), St Michael appeared to the father of a mute girl, directing him to bring his daughter to a nearby spring, where she miraculously gained her speech. A church was then built over the spring, which attracted many Christians and led to many conversions. The local pagans thought to destroy the church by diverting two nearby rivers towards it, but St Michael came to defend his shrine personally; as he struck a rock nearby, a fissure opened in it which swallowed the rush of water. The feast of “the Miracle of St Michael the Archangel at Chonai” is kept on September 6th. There were several churches in Constantinople itself dedicated to St Michael; the dedication feast of one of these became the general commemoration “of All the Bodiless Powers”, celebrated on November 8th, just as the Roman feast on September 29th also became the feast of All Angels.
| A 12th-century icon of the Miracle of St Michael defending the church of the springs at Chonai, probably made in Constantinople, now at the monastery of St Catherine on Mt Sinai. |
Collaudamus venerantes omnes cæli milites, / Sed præcipue Primatem cælestis exercitus, / Michaelem, in virtute conterentem zabulum. (In veneration we praise all the soldiers of heaven, but especially the Leader of the heavenly army, Michael, as in might he destroys the devil.)
Quo custode procul pelle, Rex Christe piissime, / omne nefas inimici: Mundo corde et corpore, / Paradiso redde tuo nos sola clementia. (With him as our guardian, drive far away, Christ, most holy king, every wickedness of the enemy; with pure heart and body, bring us back to Paradise by Thy clemency alone.)
Gloriam Patri melódis personemus vocibus, / Gloriam Christo canamus, Gloriam Paraclito, / Qui trinus et unus Deus exstat ante sæcula. Amen. (Let us sound forth glory with melodious voices to the Father, let us sing glory to Christ, glory to the Paraclete, who is God one and three before the ages. Amen.)
Friday, September 29, 2023
St Michael in the Apocrypha
Gregory DiPippo![]() |
| St Michael Defeating the Devil, by Guido Reni, 1635 |
The story has attracted almost no attention from artists, with one very prominent exception, a fresco of it in the Sistine Chapel. When the chapel was originally constructed, Pope Sixtus IV (1471-84) commissioned a group of some of the most prominent painters of the era (Sandro Botticelli, Domenico Ghirlandaio, and Perugino among them) to paint eight episodes each from the lives of Moses and Christ; they are paired to show how the Church understands the life of Moses, the lawgiver of the Old Testament, as a prophecy of the life of Christ, the lawgiver of the New Testament. The final two, however, The Dispute over the Body of Moses and The Resurrection of Christ, break the parallelism; Moses, the giver of the old Law, dies and stays dead, but Christ, the giver of the new Law, rises from the dead.
These last two are on the chapel’s back wall, which has a large door in the middle, under part of each of the paintings. On Christmas Day of 1522, the architrave over the door suddenly cracked and fell, just after Pope Hadrian VI had passed under it while processing into the chapel to say Mass. (Two of his guards were killed.) This break would eventually lead to the complete deterioration of the paintings; around 1575, Matteo da Lecce replaced the original Dispute over the Body of Moses with the same subject, but in a very different style, as Hendrick van den Broeck had done about 20 years earlier with the Resurrection.
St Michael also figures very prominently in another apocryphal work, The Testament of Abraham, which exists in two recensions; the longer of these mentions him 24 times, the shorter 44 times. The basic idea of both is that he is sent to Abraham, whose life is extended from the Biblical 175 years (Genesis 25, 7) to 995 in the long recension, to persuade him to accept that his time has come to die. When Abraham’s son Isaac comes to meet the Archangel, the latter says to him, “the Lord God will grant you his promise that he made to your father Abraham and to his seed.” (chapter 3) Later on, Abraham meets Death himself, who appears to him with the heads of various animals, including a “terrible lion.” (chapter 17) Finally, when Abraham dies, “the archangel Michael came with a multitude of angels and took up his precious soul in his hands … and they tended the body of the just Abraham …. but the angels received his precious soul.” (chapter 20) These passage were clearly the inspiration for the first part of the Offertory chant of the Requiem Mass.
Michaelmas Treats
Michael P. FoleyThe great feast of St. Michael the Archangel is upon us, and it behooves us, in the tradition of our ancestors, to honor him in food and drink.
St. Michael’s Sword
1½ oz. Jim Beam’s Devil’s Cut bourbon¾ oz. blackberry brandy2 dashes orange bitters1 cherry for garnishPour all ingredients except cherry in a shaker with ice and shake forty times. Strain into a cocktail glass. Use a cocktail spear (St. Michael’s sword) to transfix the cherry (the Devil, red with shame and rage).
1 oz. blackberry syrup½ oz. fresh lemon juice4-6 oz. sparkling waterPour syrup and lemon juice in a shaker with ice and shake forty times. Strain into a cocktail glass and top with sparkling water. Garnish with a cocktail sword and a red cherry to symbolize Michael’s victory over Lucifer, who like the cherry is red with rage and shame.
Eat a goose on Michaelmas Day,Want not for money all the year.
Roasted Duck with Oranges and Carrots
Cooking Time: 2.45 minutesServes 4-6 people1 duck, approximately 5 lbs, cleaned and at room temperature2 large oranges, zested and juiced2 cloves of garlic, finely minced2 tsp salt2 tsp black pepper2 tsp paprika1 Bouquet Garni (tied up herbs of 1 rosemary, 4-5 sprigs of thyme, 3-4 sage leaves, 4-5 parsley stems)2 Tbsp of butter1 cup of chicken broth 4-6 carrots, pealed but kept whole2 tsp flourInstructions1. Preheat oven to 375 degrees2. Make the bouquet garni by using cooking twine to tie up the herbs listed in the ingredients and set aside3. In a small bowl, combine the orange zest, garlic, salt, pepper and paprika and mix together. Rub this all over the duck, inside and out. Any left over, place inside the duck.4. Place the duck legs upward on a roasting rack inside a roasting pan5. Insert the bouquet garni inside the cavity of the duck6. Place in the oven for 45 minutes7. While the duck is roasting, use a small sauce pot to melt the butter and the chicken broth and bring it to a boil8. Use this broth to baste the duck after 45 minutes9. After 1 hour and thirty minutes, carefully remove the duck from the oven and and place the carrots in the roasting pan underneath the duck so that the melted duck fat can confit the carrots10. Return the duck and cook for another 30 minutes11. The duck should be dark golden brown with crispy skin with an internal temperature of 160 degrees. At that point remove the roasting rack and set aside for the duck to rest12. Remove the carrots and place in a saute pan and cook until it begins to caramelize, 2-3 minutes and set aside13. Make duck fat gravy by carefully removing about 2 tablespoons of duck fat and place in a small saucepan over medium heat. Add the flour and whisk together to make a paste and cook for 1-2 minutes. Add the basting broth, a little at a time to the saucepan, whisking constantly to incorporate the flour with the broth. Use about ½ cup of broth to saucepan. Add the orange juice and whisk together to make a gravy. Add a pinch of salt to taste.14. To present the duck, remove the bouquet garni from the cavity and discard.15. Serve the duck over a bed of arugula greens, with the carrot spears around the duck and a gravy boat with the orange infused duck fat gravy.
Wednesday, September 28, 2022
The Orations of Michaelmas
Michael P. Foley![]() |
| St Michael the Archangel, Castel Sant’ Angelo, Rome |
The feast of St. Michael has a long and storied history in the Roman Rite. In the 1962 Missal it is known as the feast [of the anniversary of] the Dedication of St. Michael, a basilica that was dedicated to the Archangel on the Salarian Way about seven miles from Rome in A.D. 530 by Pope Boniface II. In the traditional rite, the feast maintains this title, even though the basilica it commemorates disappeared over a thousand years ago.
In the new Missal, the feast is that of “Saints Michael, Gabriel and Raphael, Archangels,” although it is indirectly extended to all Angels. The old rite has separate feasts for Gabriel and Raphael (March 24 and October 24, respectively), but is also shares a broader sensibility for all of God’s faithful heavenly spirts. Thus the Collect:Deus, qui, miro órdine, Angelórum ministeria hominumque dispensas: concéde propítius; ut, a quibus tibi ministrántibus in cælo semper assístitur, ab his in terra vita nostra muniátur. Per Dóminum.
O God who, through a wonderful order, dost manage the ministries of Angels and men: graciously grant that as our life is forever assisted by those ministering to Thee in Heaven, may it also be defended by them on earth. Through our Lord.
O God, who in a wonderful order hast established the ministry of angels and of men, mercifully grant that even as Thy holy angels ever do Thee service in heaven so at all times they may defend our lives on earth. Through our Lord.
Hostias tibi, Domine, laudis offérimus, supplíciter deprecantes: ut easdem, angélico pro nobis interveniente suffragio, et placátus accipias, et ad salútem nostram proveníre concédas. Per Dóminum.
O Lord, we offer up to Thee the sacrifice of praise, humbly praying that: by the angelic suffrage interceding for us, Thou wouldst graciously receive it and grant to attain our salvation. Through our Lord.
Beáti Archángeli tui Michaélis intercessióne suffulti: súpplices te Dómine, deprecámur; ut, quod ore proséquimur, contingámus et mente. Per Dóminum nostrum.
Propped up by the intercession of Thy blessed Archangel Michael, we humbly beseech Thee, O Lord, that what we have pursued through our lips may also touch our souls. Through our Lord.
Wednesday, September 29, 2021
Michaelmas Day and its Customs
Michael P. Foley![]() |
| A 14th-century Russian Icon of St Michael |
Feast days are typically assigned on or near the date that a Saint passes from this world to the next, but what happens with a heavenly spirit? For the feast of Saint Gabriel on March 24, it was the Archangel’s role in asking the Blessed Virgin to become the Mother of God that inspired the Church to honor him on the day before the feast of the Annunciation. For Saint Raphael, it may have been the relative proximity of the feasts of St. Michael (September 29) and the Guardian Angels (October 2) that led to his feast falling on October 24--though truth be told, the reason why that date was chosen remains something of a mystery.
![]() |
| St Michael Defeats the Devil, by Guido Reni, 1630-35 ca.; from the church of St Mary of the Immaculate Conception in Rome. (Public domain image from Wikimedia.) |
When Michael the Archangel, disputing with the devil, contended about the body of Moses, he durst not bring against him the judgment of railing speech, but said: “The Lord command thee.”
And there was a great battle in heaven, Michael and his angels fought with the dragon, and the dragon fought and his angels: And they prevailed not, neither was their place found any more in heaven. And that great dragon was cast out, that old serpent, who is called the devil and Satan, who seduceth the whole world; and he was cast unto the earth, and his angels were thrown down with him (12, 7-9).
Eat a goose on Michaelmas Day,Want not for money all the year.
The Michaelmas Daisies, among dede weeds,Bloom for St Michael’s valorous deeds.And seems the last of flowers that stood,Till the feast of Saint Simon and Saint Jude [October 28].


































