Rhabanus
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An English carol titled “The Joys of Mary” celebrate an interesting selection of “joys” that Our Lady experienced.
A rather haunting Christmas carol composed by one of the English Martyrs (Robert Southwell?) is “Come, Come, Come to the Stable.” The connection is made in this carol between the Nativity and the Passion and Death of Christ. It was sung by Recusant Catholics suffering persecution, exile, and even martyrdom for the Faith. The carol closes with the petition “Lord, have pity and mercy on me.” It never caught on in North America, but Rhabanus wonders whether it is sung in Ireland.
@Praxiteles wrote:
The kneeling posture of Our Lady in the Portinari Altar Piece is practically similar to van der Goes other great Nativity, the Berlin Nativity, and representes an iconographic manner of depicting this subject proper to the school of Ghent.
In the Berlin Nativity, the face of Our Lady is taken to represent the passage in St. Luke’s Gospel wheich says that “she treasured all these things [that had been said of the Christ Child by the prophet Simeon] and pondered them in her heart”
On the other hand, the face of Our Lady in the Portinari Altar piece is taken to represent the tristesse of Mother of Sorrows who already knows at the birth of Christ what he has come into the for and how that would be accomplished.
It is well to recall, and the depictions of the Nativity of Our Lord on both the Portinari altarpiece and the Berlin Nativity do remind us, that the Incarnation was ordered to the Passion and Death of Our Lord. Simeon prophesied this to Our Lady upon her Presentation of Christ in the Temple forty days after His birth (celebrated originally as the Hypapante or Encounter between Christ and Simeon on 2 February, but also known through history as Candlemas Day, Purification of the BVM, and now, since 1970, Presentation of the Lord).
Devotion to the Sorrows of Our Lady emerged around the beginning of the fourtheenth century under the influence of such Rhenish mystics of the Order of Preachers (Dominicans) as Henry Suso (1295/1300 – 1366).
One ought to distinguish among various lists of the Sorrows of the Blessed Virgin.
An early list of Mary’s sorrows during the course of the Passion of Christ from His arrest to His burial corresponds to the seven canonical hours of the daily Office – the Church’s public prayer (matins/vigils or readings, lauds, prime, tierce, sext, none, vespers, compline). This list includes the sorrows that Our Lady suffered during the course of Christ’s Pasion:
Jesus is arrested and struck;
Jesus is led to Pilate to be judged;
Jesus is condemned to death;
Jesus is nailed to the cross;
Jesus gives up His spirit and dies on the cross;
Jesus is taken down from the cross;
Jesus is wrapped in the shroud and laid in the sepulchre.Another list of Our Lady’s Sorrows includes the infancy and childhod of Christ:
The prophecy of Simeon: “a sword shall pierce thine own soul too”;
The slaughter of the Holy Innocents and the flight to Egypt;
Jesus is lost in Jerusalem;
Jesus is arrested and judged;
Jesus is crucified and dies on the cross;
Jesus is taken down from the cross;
Jesus is wrapped in the shroud and laid int he tomb.The fourteenth century, marked by outbreaks of the Black Death (1347-50; 1358-60; 1373-75) witnessed a rise in meditations, prayers, and poems that took as their focus the Sorrows of Mary. The image of the sorrowful Mother Mary holding on her knees the broken, bruised, and bleeding Body of Christ (The Pieta) captured the popular imagination.
It was a parish priest of Flanders, John de Coudenberghe, who began to promote the devotion to the Seven Sorrows that has come down to the present day:
The prophecy of Simeon (Lk 2:34-35);
The Flight into Egypt (Mt 2:13-21);
The Loss of Jesus for Three Days in Jerusalem (Lk 2:41-50);
The Ascent to Calvary (Jn 19:17);
The Crucifixion and Death of Jesus (Jn 19:18-30);
The Descent from the Cross (Jn 19:39-40);
The Burial of Christ in the Sepulchre (Jn 19:40-42)This devotion, resting on distinctly biblical images and scenes, inspired the formation of a Confraternity of Our Lady of Sorrows. This set of Sorrows remains the characteristic object of devotion of the Servite Order (est’d 1256) and of the Congregation of Holy Cross (est’d 1937).
Many today are familiar with the five sorrowful mysteries of the Marian Rosary:
The agony in the graden;
The scourging at the pillar;
The crowning with thorns;
The carrying of the cross;
The crucifixion and death of Christ.Traditionally Latinate (French, Italian, Spanish) spirituality and devotion focus on the Seven Sorrows of the Blessed Virgin Mary. Medieval English Marian piety, on the other hand, emphasised the joys of the Blessed Virgin Mary (or “Blissful Maiden Mary”). Examples of this include the devotion to Our Lady of Walsingham, with its focus on the Annunciation, and that of Our Lady of Glastonbury, with its focus on the Nativity of Christ in honour of which the Glastonbury Thorn still blossoms at Christmas – it even made the transition to the Gregorian calendar!!)
In the West, starting in the eleventh century, the joy of Mary began to be celebrated in private devotion by the recitation of two anthems inspired by Byzantine prayer: Gaude, Dei Genetrix (Rejoice, Mother of God), and Ave Maria (Hail Mary):Rejoice, Mother of God, Virgin Immaculate.
Rejoice, Thou who didst receive joy from the Angel.
Rejoice, Thou who didst conceive the brightness of eternal Light;
Rejoice, O Mother.
Rejoice, O Holy Mother of God and Virgin;
All creation extols Thee.
Mother of Light, pray for us.Around the end of the eleventh century, each Gaude began to be paired with a joyful event of the life of the Blessed Virgin Mary. The five main liturgical feasts furnished the list of five joys:
Annunciation, Nativity of Christ, Passion-Resurrection of Christ, Ascension of Christ, Assumption of the Blessed Virgin Mary;
In the twelfth century, the Adoration of the Magi and the descent of the Holy Spirit on Pentecost Day expanded the Virgin’s joys from five to seven, corresponding to the liturgical hours of the day (mentioned above) and the days of the week.
By the thirteenth century, the Franciscan missionary preacher St Bernardine of Siena (1444) and his followers promoted the Garland of delights or Chaplet of the 72 Hail Marys in honour both of the seven joys of Mary (Annunciation, Visitation, Birth of Christ, Adoration ofthe Magi, Finding in the Temple, Resurrection, Assumption) and the years of Our Lady’s life on earth.
The thirteenth century (1225-50) saw likewise the meditations on the Fifteen Joys of Mary by Stephen of Sallai (York).. The chief influences here are sacred Scripture, the sacred liturgy, and the works of st Bernard. Note the Christocentricity of the fifteen joys. Each joy presents a meditation, then a Gaude or joy addressed to Mary, then finally a reqiest followed by a Hail Mary. The fifiteen joys are divided into three groups of five:
Misery of the sinful world dispelled by Mary;
Holy life of Mary, who drew us to the Son of God;
The Archangel greets the Virgin Mary;
God the Father sends His Son in the flesh;
Mary visits and greets Ellizabeth and helps her.A pause recalls the excellence of the Virgin Mary, in whose womb Jesus dwelt for nine months;
The virginal birth and Mary’s joy at home with Jesus;
The Magi visit from the Orient;
Mary presents the Infant Jesus in the Temple to God the Father;
The life of the Child Jesus during which “Mary treasures all these things and pnders them in her heart.
The signs of Jesus, the first of which when He changes water into wine.A pause recalls the joys of Mary in witnessing all that jesus did from His Baptism to His Passion;
The Son of God offers Himself to the eternal Father on the altar of the cross;
Mary learns of the Resurrection of Jesus and sees her risen Son;
The glorious Ascension of the Lord;
The company of disciples wait in prayer and receive the gift of the Holy Spirit;
the completion of the Blessed Virgin’s joys inthis life and her assumption into heaven by her Son.Dom Andre Wilmart OSB edited the text of the Fifteen Joys of Mary.
A simplified but highly popular form of the Fifteen Joys of Mary formed part of the Book of Hours (since the end of the fourteenth century in France), one of the most widely copied prayer books of the Middle Ages.
Readers are encouraged to consult the pertinent articles on the Sorrows and the Joys of Mary by J. Laurenceau in The Dictionary of Mary, revised and expanded ed. with complete references to the Catechism of the Catholic Church (New Jersey: Catholic Book Publishing Co., 1997, 1985), pp. 443-447 and 216-221.
@Praxiteles wrote:
To return again to the Portinari Altar Piece:
This time, to that sabot or clog sitting there in the lower left hand corner and drawing further attention to itself by the absence of its comrade.
The device of the the discarded sabot or wooden clog is also to be foung in Jan van Eyck’s Arnolfini wedding picture.
In both cases, it is a direct reference to the Book of Exodus chapter 3, verse 5: the account of Moses and the burning bush where he is told by God to remove his shoes for he is on holy ground and in the presence of God.
Hugo vand der Goes, by referring to this Biblical incident, obliquely makes a statement about the scene of beholding the Christ child born in the Bethlehem stable. Here we have a theophany, or a manifestation ofthe Divine before which the proper attitude of man is that of reverence, awe and adoration – features all very evident in the expressions of the rough country shephers who have come to see the Chirst child and are depicted in the diagonally opposite corner of the picture.
The clog seems to belong to St Joseph. The theological point here, and it is a fairly common motif of Flemish artists of this period, is that St Joseph parallels Moses gazing at the burning bush. The burning bush was read by the Fathers of the Church and the medieval theologians as a type or foreshadowing of the perpetual virginity of the Blessed Virgin Mary – ante partum, in partu, and post partum. The bush in Exodus 3:2 was on fire yet not consumed. Christ’s birth neither lessened nor compromised His Mother’s virginity, but consecrated and enhanced it. Like Aaron’s staff which blossomed into an almond tree, Mary’s virginity was fruitful.
St Jerome makes the point that St Joseph “feared” to take the Blessed Virgin to his home, as St Matthew records, precisely because he recognised the divine prodigy of the virginal birth of Christ. Like David, who feared lest contact with the sacred Ark of the Covenant might destroy him, St Joseph feared contact with the most holy Mary, Ark of the New Covenant.
@Praxiteles wrote:
Someone asked Praxiteles recently why the figures of the ox and the ass appear in the Crib. Well, the short answer to taht is because they were put there by St. Francis of Assisi -who invented the Crib- when he firest set up one in 1223 at
However, the Poverello did not put both figures into the Crib merelyfor decorative purposes: he had a fairly trenchant message to deliver to those who gazed upon the chirl in the manger, namely would they be able to recognise that the child in the Crib was indeed the Saviour and Redeemer?
The source for ther eference tot he ox and the ass is to be found at the evry beginning of the Prophet Isaiah:
“cognovit bos possessorem suum et asinus praesepe domini sui Israhel non cognovit populus meus non intellexit”
Roughly translated: the ox knows its owner and the ass its master’s manger but Isael does not, and my people do not understand”.
The Crib here is that of Hugo van der Goes aka the adoration of the Shepherds, painted in Brouges in 1475. The ox and the ass are to be seen peering from behind the figure of Our Lady. The picture was commissioned by Antonio Portinari, a Florentine banker in Bruges, and was eventually taken back to Florence by him and set up in the Church of Sant’Egidio dell’archispedale of Santa Maria Nuova. To.day, it is in the Uffizi Gallery.
Thank you, Prax, for reviewing the early history of the Crib. Mention ought to be made here of the Presepe of Arnolfo di Cambio (1245-1300/1310) in the Basilica of St Mary Major. The figures are arranged in a subterranean chapel beneath the Sixtine Chapel. The Blessed Virgin, enthroned and raised some distance from the floor, presents the Christ Child to the Magi entering the chapel through a doorway. St Joseph looks meekly on at the scene from a corner of the chapel. Our friends the ox and the ass peek out from their stall in a niche to St Joseph’s right. No shepherds, no angels, no little drummer boy. Too bad copies of this beautiful nativity scene were not availble for the homes of the faithful.
Last year Rhabanus saw (in a mall) a nativity scene made completely of cats, and another made entirely of dogs. Rhabanus would like to see tasteful nativity scenes, mangers, cribs, and creches that bring glory to the Newborn King.
The Neapolitans traditionally do a first-rate job of this! There used to be magnificent Neapolitan cribs on display at the Church of Sts Cosmas and Damian in Rome, but several important sets were stolen in the 1980s. The mafia abducted the Bambino from the Ara Coeli back in the late 80s or 90s but the Franciscan Friars have commissioned a replacement. The Bambino of the Ara Coeli used to be driven about Rome in his own fancy carriage, and is mentioned by Charles Dickens in his Pictures of Italy.
At this time of year, the Piazza Navona, Rome, is crowded with nativity scenes and cribs. Plenty of fingures of all shapes, sizes, and quality to build the presepe (crib) at home.
By the way, the relic of the True Crib (Santa Culla of Holy Cradle) is kept in a chapel in the confessio beneath the high altar of St Mary Major. When Napoleon invaded Rome, he stole the magnificent crystal and gold reliquary, discarding the actual relic of the cradle on the floor of the basilica.
The Basilica of St Mary Major was built in 432 to commemorate the official recognition by the Council of Ephesus in 431 of Our Lady’s title “Mother of God” used traditionally in liturgical and devotional prayer at least a century earlier.
@Praxiteles wrote:
Someone asked Praxiteles recently why the figures of the ox and the ass appear in the Crib. Well, the short answer to taht is because they were put there by St. Francis of Assisi -who invented the Crib- when he firest set up one in 1223 at
However, the Poverello did not put both figures into the Crib merelyfor decorative purposes: he had a fairly trenchant message to deliver to those who gazed upon the chirl in the manger, namely would they be able to recognise that the child in the Crib was indeed the Saviour and Redeemer?
The source for ther eference tot he ox and the ass is to be found at the evry beginning of the Prophet Isaiah:
“cognovit bos possessorem suum et asinus praesepe domini sui Israhel non cognovit populus meus non intellexit”
Roughly translated: the ox knows its owner and the ass its master’s manger but Isael does not, and my people do not understand”.
The Crib here is that of Hugo van der Goes aka the adoration of the Shepherds, painted in Brouges in 1475. The ox and the ass are to be seen peering from behind the figure of Our Lady. The picture was commissioned by Antonio Portinari, a Florentine banker in Bruges, and was eventually taken back to Florence by him and set up in the Church of Sant’Egidio dell’archispedale of Santa Maria Nuova. To.day, it is in the Uffizi Gallery.
Thank you, Prax, for reviewing the early history of the Crib. Mention ought to be made here of the Presepe of Arnolfo di Cambio (1245-1300/1310) in the Basilica of St Mary Major, Rome. The figures are arranged in a subterranean chapel beneath the Sixtine Chapel and can be viewed from the level of the main floor of the Sixtine Chapel, just in front of the Altar of the Blessed Sacrament.
The Presepe is quite simple in decoration. The Blessed Virgin, enthroned and raised some distance from the floor, presents the Christ Child to the Magi entering the chapel through a doorway. St Joseph looks meekly on at the scene from a corner of the stable. Our friends the ox and the ass peek out from their stall in a niche to St Joseph’s right. No shepherds, no angels, no little drummer boy. Too bad copies of this beautiful nativity scene were not availble for the homes of the faithful.
[Last year Rhabanus saw (in a mall) a nativity scene made completely of cats, and another made entirely of dogs. Rhabanus would like to see tasteful nativity scenes, mangers, cribs, and creches that bring glory to the Newborn King.]
The Sicilians do a first-rate job of producing elaborate nativity scenes! There used to be magnificent Neapolitan cribs on display at the Church of Sts Cosmas and Damian in the Roman Forum, but several important sets were stolen in the 1980s.
The mafia abducted the Bambino from the Ara Coeli back in the late 80s or 90s, and held Him for ransom, but the Franciscan Friars have commissioned a replacement. The original Bambino of the Ara Coeli used to be driven about Rome in his own fancy carriage, and is mentioned by Charles Dickens in his Pictures of Italy.
At this time of year, the Piazza Navona, Rome, is crowded with nativity scenes and cribs for sale. Plenty of fingures of all shapes, all sizes, (and all qualities) to build the presepe (crib) at home.
Rhabanus recalls having entered, in younger and happier days, the parish’s crib contest to determine which home arranged the best nativity scene. Is this done in parishes in Ireland nowadays?
@ake wrote:
Cleristown parish church; A small village near Wexford town. The church was built in the early 19th century, and was subjected to various works; at one point the altar was a wooden one designed by Pugin no less, but that had long dissappeared without a trace. Here’s a picture before the re-ordering.
[ATTACH]6524[/ATTACH]
Then comes Vatican II;
forget the Reformation;
[ATTACH]6525[/ATTACH]
As you can see the sanctuary was more or less removed wholesale
There have been improvements since, with a new altar donated in 1998;
[ATTACH]6526[/ATTACH]
Mary now relegated to a corner in the transept.
[ATTACH]6527[/ATTACH]Now Our Lady gets to hear the races over the wireless from the retrofitted speaker behind her. Now THAT’S progress. Rhabanus wonders whether she listens in every now and then to VaticanRadio or EWTN in Alabama.
@Praxiteles wrote:
The new altar in this church seems rather our of proportion to the rest of theSanctuary – which then becomes nothing more than a store room for rubbish.
Also, Praxiteles is not sure that the introduction of modern benches here is an improvement on the traditional French chaise d’église.
Rhabanus is confident that the pews are distinctly out of place in this church.
Note the placement of the rood in the earlier, b x w photo – right across from the pulpit. Interesting.
Rhabanus might rather have expected the pulpit to have been placed on the Gospel side and the rood to have replaced the Twelfth Station of the Cross on the wall of the Epistle Side of the nave. Could that print have been reversed?
The golden angels on the plinths flanking the East window are too small for the space they occupy. Bring back the earlier saints!!
@Praxiteles wrote:
And here we have St. George’s Cathedral, Southwark (London) built by A.W.N. Pugin and considered to be one of his finest works. Unfortunately, it was bombed during the war but restored in the late 1940s and early 1950s only to have been hacked to bits by the liturgical agitators of the 1970s and 1980s who eventually ht on the (much hackneyed) idea of abandoning the chancel and placing an unraised altar at the crossing.
From the photographs on the following likns, it is easy to see how difficult it is to celebrate the Tridentine Rite in this kind of set up – clearly the hacked sanctuary was adapted as best one could to accomodate the Tridentine Rite but, as you can see, it is a foreigner in this setting -which in itself sevres to indicate the underlying theological/intellectual problematic involved in the hacked solution which is basically not Catholic.
The solution here is, not surprisingly, quite close to what was proposed for Cobh Cathedral:
http://www.traditionalcatholic.org.uk/SouthwarkCathedral8Dec07/Photos_3.html#10
A formerly glorious church cut down to size by the liturgical peddlars. Take us back to Westminster, please.
But let us peek into St Etheldreda’s Ely Place – the oldest Englsih church in Catholic hands. Once the residence of the bishops of Ely (whose patron saint is St Etheldreda of Ely), it was won in an auction for 100 pounds sterling.
Supporting the arches are several of the Forty Martyrs of England and Wales. The east window, though too modern, celebrates the Kingship of Christ. The west window is superior. It depicts the Catholic martyrs of sixteenth-century England.
St Ethelreda’s has long hosted the usus antiquior of the Roman Rite.
@Praxiteles wrote:
Here we have some liturgical reasing for the Cloyne HACK over the festive season:
Perhaps the Cloyne HACK should be eating crow rather than goose or turkey this Christmas!
Thank you, Prax, for the excellent snaps of the Upper Basilica of Lourdes. The shot from 1876 was stunning. Rhabanus thinks that the current state of the high altar could be improved somewhat. Paraphrasing ake, it seems a bit subdued. A little more eclat wouldn’t harm it.
Must agree with Fearg, that the St Pius X Basilica is a concrete bunker – does nothing to inspire confidence in Rhabanus. On the other hand, the processions on the esplanade are always uplifting. Those spires pointing heavenward against a red sunset stand as an image of the Christian Faith persevering and unwavering against the twilght of the gods.
Thanks, too, for Dr Reid’s trenchant review of the recent Marini oeuvre. Marini’s swan song serves as a useful pendant to Bugnini’s Reform of the Liturgy 1948-1975. Readers can see how politics played (and still play) a pervasive role in the advancement of the liturgical juggernaut. It is about time that the Holy See implemented its ‘hermeneutic of continuity’ before all the ecclesiastical architecture of Ireland is completely flattened out by the ideologues and heirs of Bugnini-Marini – their name is Legion! Time to dissolve the apparatchik.
The “Reform of the Reform,” as envisioned by Benedict XVI, is long overdue. Plenty of young people seem quite interested. Many are aware that their patrimony has been squandered – and they are seeking to reclaim it. Aren’t forty years of decline sufficient reason to begin trying what has worked for centuries? Namely, the liturgy as transmitted and received in fidelity from the Apostles and their disciples. Let the development be organic and faithful to the depositum fidei.
Westminster Cathedral looks magnificent, as usual.
It’s long past time that St Colman’s Cathedral, Cobh, celebrated the solemn pontifical rite of Mass according to the usus antiquior or the “extraordinary form.” Quando? Quando? Quando?
Can’t get the YouTube pics as intended. But thanks anyway for the references!
@Praxiteles wrote:
A very beautiful font! St. Mary’s was restored from a condition of near ruin by the Rev. Pierce Drew who was a noted antiquarian.
Thank heaven for sensible and learned clerics like him!
That Rood screen must have been impressive.
@Praxiteles wrote:
What has happened here is just pathetic and an act of remarkable vandalism.
What is the history of this church and what happened to its interior? A recent demolition or one dating back to the 1960s and the Age of Aquarius?
@ake wrote:
just thought we could take a time-out on cobh to admire the ‘improvements’ to this historic pre-emancipation church in Wexford, at Poll fuar (Fethard on Sea)
[ATTACH]6455[/ATTACH]
Strange we don’t hear as much about this triumph of artistic creation.Treebeard’s mortuary?
Pity the number of trees that died for this.@Praxiteles wrote:
JUst take a look at this piece of nonsense by
Mr Fergus Costello, Cloughjordan, Co Tipperary.
I jest not: This is from wikipedia: “Fergus Costello is an internationally acclaimed liturgical artist and church designer. He is a leading authority on Church art in Ireland and is based out of Cloughjordan.”
What the deuce is that? The sarcophagus of King Tut’s malnourished brother? The tomb of Lazarus? The Scavenger’s Daughter? Dracula’s ‘phone booth?
Rhabanus shan’t be taking the road to Sloughjordan anytime soon.
@Praxiteles wrote:
And here are the St. Colman’s Cathedral Restoration Fund directors as returmned the Companies Registration Office on 17 October 2007:
Parton: Bishop JOhn Magee
Chairman: Denis Murphy
Denis Reidy (Secretary)
John Bowen
Brian Carroll
V. Rev Gerard Casey
Ted Foley
V. Rev Canon Eamonn Goold
Fr. James Killeen
Rt Rev James O’Donnell
Rt. Rev Denis O’Callaghan
V. Rev Muichael Leamy
V. Rev Frank WalleyHon Treasurers: V. Rev Denis Reidy
V. Rev, Gerard Casey
Fr. James Killeen.There is room here too for a few resignations!
Parce, Domine! Parce populo tuo; ne in aeternum irascaris nobis!
(To be repeated thrice, whilst beating the breast.)@Praxiteles wrote:
Here are the present directors of the St. Colman’s Roman Catholic Trust as returned on 17 October 2006 to the Companies Registration Office:
John Magee (Chairman)
Archdeacon W.C. Twohig
Brian Carroll
Frank Walley
Mgr Denis O’Callaghan
Mgr James O’DonnellThe present secretary is: Robert Anthony Morrissey
We await further resignations here!
MISERERE!!
@Praxiteles wrote:
This one?
Yes, that one. Rhabanus, however, notes a telling variant in orthography: Our friend Pooh is helping himself to the HUNNY POT, not the honey pot. Note the first syllable emerging in clear relief: HUN.
This Pooh bear derives his relief from indulging in HUN-like or HUNNY activity, such as the wreckage of fine ecclesiastical buildings. HUNs on the run – in Cobh! How did they ever get there?? Today they dress not in helmets and course garments but Armani suits and patent leather shoes. These aren’t your garden variety HUNs – these are first-class HUNS, with a taste for champagne and caviar. Yet HUNS nonetheless – never happier when looting a village or small island, and stuffing their pockets with “professional fees.”
Enjoy the HUNNYPOT whilst thou canst, Oh Pooh bear! But remember thy last end!!
@samuel j wrote:
Actual Works Professional Fee
Actual Works Professional Fee
___________________________________________
2006 €4,000.00 €148,000.00
2005 €74,527.00 €10,840.00
2004 €74,527.00 €8,945.00
2003 €- €35,789.00
2003 €9,957.00 €64,890.00
2001 €118,113.58 €60,980.44 At 0.787564
2000 €77,184.84 €26,462.61 At 0.787564
Advertising €11,699.00
__________________________________________
Totals : €358,309.41 €367,606.055Dear God, over half has been spent on Fees…… its a disgrace
These most recent revelations have Rhabanus aghast and reeling from the shock! As he has asked time and again throughout these Chronicles of St Colman’s Cobh, IS THERE NO ACCOUNTABILITY??
Resignations, indeed! I suppose that legal action would avail little or nothing when the corruption is so rife, not say pervasive. Just pass round that honeypot once more.
Che cosa scandalosa!!
@Praxiteles wrote:
St. Colman’s Cathedral, Cobh, Co. Cork
The (slightly) recessed arch of South Transept.
The composition here of rose window (based on the North Rose of Laon Cathedral) and gallery with the arch not extending the whole height of the facade, is a feature more typical of the work of JJ McCArthy e.g. Monaghan (west); St. Saviour’s, Maynooth College Chapel (west).
Prax,
Can you explain the formation of the stonework beneath the lancet windows supporting the rose on the S. transept? They seem, from my screen, to incline towards the centre of the facade. Is this intentional? Or owing to the passage of time? Or owing to some other intervention? Just strikes me as odd.
Thanks for posting the article by Fr Lang on Liturgical Latin. Ecellent reading!
@Praxiteles wrote:
The West front of Peterborough (1118-1238). The triple arcade is without precedent or immediate successor:
The Cathedral of Peterborough, once an abbey but spared destruction owing to the fact that Queen Catherine of Aragon is entombed therein, stands in magnificently for Barchester Cathedral in the BBC adaptation of Anthony Trollope’s novel Barchester Towers.
Although this version of BT is of the highest quality, featuring such stellar actors as Donald Pleasance, Nigel Hawthorne, Geraldine McEwan, Alan Rickman, Clive Swift, and Susanna Hampshire, the book is even better. Such insight into ecclesiastical life.
Reading the Chronicles of Cobh on this thread is rather like perusing a sequel of the Barchester novels, describing as they do a state of affairs that might have obtained had the odious reformer, Obadiah Slope, been successful in his climb to the top of the tree.
