Thursday, 3 September 2015

An Act Of Consecration To The Immaculate Heart Of Mary.


This Article is from AD MAIOREM DEI GLORIAM


MARY'S MONOGRAM

Illustration: CATHOLIC TRADITION.ORG



+               +               +                +               +



Act of Consecration to


The Immaculate Heart of Mary







With last month, August, being dedicated by Holy Mother Church as the month of The Immaculate Heart of Mary, it was a fitting time to make an Act of Consecration to her Immaculate Heart.

The beautiful Consecration, provided below, reminds us of the importance of being united to Mary, for, through her guidance, we can more easily follow Christ's Will and gain our Heavenly reward.


+               +               +                +               +


Act of Consecration to


The Immaculate Heart of Mary


Heavenly Mother Mary, I come to thy most lovable and sweet Heart, refuge of sinners.

I offer myself to thee and Consecrate my entire life to thine Immaculate Heart.

In this Consecration of my total person,

I offer thee my body and Soul, with all its miseries and weaknesses.

I offer thee my heart, with all its affections and desires, my Prayers, works, joys and sufferings.

I offer thee every temptation that comes to me, so that my every thought and desire may be purified through thy Holy Intercession.




My Queen, my Mother, I offer thee in Consecration all sufferings which come into my life, both physical and spiritual.

I offer thee especially my death, with all that will accompany it.

I offer thee my last agony.

Accept all this, my Mother, and take all into thy Immaculate Heart as I give to thee irrevocably all that I am and all that I have, together with all property and possessions.

I offer thee my family and all who are near and dear to me. Take them all into thine Immaculate Heart and keep us ever one in thy Son Jesus Christ.




I renew today the vows of my Baptism and Confirmation.

Keep me ever Faithful to God and to Holy Church, and loyal in obedience to The Holy Father, the Pope.

I desire to pray The Rosary properly, meditating on its Mysteries.

I desire to participate in The Sacrifice of thy Son, perpetuated at Holy Mass, and receive Him frequently, even daily, in Holy Communion.

I attach special importance to The First Saturday of the month, in reparation to thine Immaculate Heart, and I will work for the conversion of sinners.

I will strive to live daily, the Spirit of Eucharistic Reparation.




O Queen of the Angels, my Queen and my Mother, I humbly prostrate myself before thee, as I approach thee with my Guardian Angel.

I desire all the Holy Angels, and especially my Guardian Angel, to Venerate thee always as Queen of Heaven and Earth.

Command my Guardian Angel, and all Holy Angels, to keep me always in thy love and in the Union of Grace with thy Divine Son.

Send forth thy Angels to assist me in spreading Devotion to thine Immaculate Heart, so that, through thine intercession, there may be Peace in the World and in The Church, and The Kingdom of Christ may come on Earth, as it is in Heaven.

Amen.



God Bless.


+ JMJ +


Wednesday, 2 September 2015

Saint Stephen. King And Confessor. Feast Day, Today, 2 September.


Text from The Saint Andrew Daily Missal,
unless otherwise stated.

Saint Stephen.
King and Confessor.
Feast Day 2 September.

Semi-Double.

White Vestments.



English: Saint Matthias Church, Budapest, Hungary.
[Editor: The first Church on the site was founded by Saint Stephen, King of Hungary, in 1015]
Magyar: Mátyás-templom és a Szentháromság tér.
Photo: 27 January 2014.
Source: Own work.
Author: Thaler Tamas.
(Wikimedia Commons)



English: Coat-of-Arms of Hungary.
Magyar: Magyarország címere.
English: “Per pale, the first barry of eight Gules and Argent, the second Gules, on a mount Vert a crown Or, issuant therefrom a double crossArgent. In crest the Holy Crown of Hungary.”
Magyar: A Magyar Köztársaság címere hegyes talpú, hasított pajzs. Első mezeje vörössel és ezüsttel hétszer vágott. Második, vörös mezejében zöld hármas halomnak arany koronás kiemelkedő középső részén ezüst kettős kereszt. A pajzson a magyar Szent Korona nyugszik.
Blazon Reference:
Date: 1 January 2009.
Source: Own work.
Artist: Thommy.
(Wikimedia Commons)



The Hungarian National Anthem.
Available on YouTube at



Magyar: Nemzeti dal, a Magyar
Szent István magyar király, templom,
Chicago, Illinois, Egyesült Államok.
English: National Song of Hungary,
Saint Stephen, King of Hungary, Church,
Chicago, Illinois, United States of America.
Available on YouTube at


A descendant of those proud and terrible invaders, The Huns, Stephen was chosen by God to win over his subjects to Christ and His Vicar.

He was given the Baptismal name of Stephen, in consequence of his mother having a vision of the Martyr, Saint Stephen, who foretold her that he would convert Hungary, whose first King he became when the Pope had raised the Country into a Kingdom.



English: Saint Matthias Church, Budapest, Hungary.
Magyar: Mátyás-templom.
Photo: 12 November 2013.
Source: Own work.
Author: Thaler Tamas
(Wikimedia Commons)


Having married the sister of the Emperor, Saint Henry, he surrounded himself, to govern his Kingdom, with men of tried Holiness and Prudence. He passed entire nights in the contemplation of Heavenly things (Introit), practised the greatest austerities, and, seconded by the Queen, his pious spouse, gave abundant alms (Epistle) to widows and Churches.



English: Budapest, Hungary,
and the River Danube.
Saint Matthias Church can be seen on the sky-line.
Magyar: Magyar: Pestről nézve.
Photo: 12 November 2013.
Source: Own work.
Author: Thaler Tamas.
(Wikimedia Commons)


The greatness of his zeal, for the propagation of The Faith, justly won for him the Title of Apostolic King or of Apostle of Hungary, and deservedly obtained for him from The Holy See the privilege, transmitted to his successors, to have The Cross borne before him.

He built a large Basilica in honour of Mary, whom he proclaimed Patroness of Hungary. "His zeal in propagating and strengthening The Faith in his Kingdom earned for him the glory of a Heavenly Crown" (Postcommunion).

He died in 1038 on "The Day of The Great Lady", as The Feast of The Assumption was called by the Hungarians, in virtue of an edict of the Holy King.

Mass: Os justi.



English: Interior of Saint Matthias Church,
Budapest, Hungary.
Magyar: Mátyás-templom.
Photo: 23 June 2013.
Source: Own work.
Author: Thaler Tamas.
(Wikimedia Commons)

Rood Screens.


Text from Wikipedia - the free encyclopaedia,
unless otherwise stated.



Rood Screen,
Saint Birinus' Church,
Dorchester-on-Thames,
Oxfordshire, England.
Illustration: PINTEREST



Rood Screen in
Saint Mary's Church,
Staunton-in-the-Vale,
Nottinghamshire, England.
Photo: 22 June 2013.
Source: Own work.
Author: Andrewrabbott.
(Wikimedia Commons)

Domesday Book records a Church and a Priest in Staunton, then called 'Stanton',
but which afterwards has been called Staunton-in-the-Vale or simply 'Staunton'.
Between Nave and Chancel is a Rood Screen from 1519.
This Text from 



The Rood Screen,
Saint Giles' Church,
Cheadle, Staffordshire, England.
Designed by Augustus Welby Northmore Pugin, between 1841-1846,
and financed by John Talbot, the 16th Earl of Shrewsbury. Augustus Pugin
endeavoured to create "a perfect revival of an English Parish Church
of the time of King Edward I".


The Rood Screen (also Choir Screen, Chancel Screen, or Jubé (French)) is a very common feature in Late-Mediaeval Church architecture. It is typically an ornate Partition between the Chancel and Nave, of, more-or-less, open Tracery, constructed of wood, stone, or wrought iron. The Rood Screen would originally have been surmounted by a Rood Loft, carrying The Great Rood, a sculptural representation of The Crucifixion.

In English, Scottish, and Welsh Cathedral, Monastic, and Collegiate Churches, there were, commonly, two Transverse Screens, with a Rood Screen, or Rood Beam, located one Bay West of The Pulpitum Screen, but this double arrangement nowhere survives complete, and, accordingly, the preserved Pulpitum in such Churches is sometimes referred to as a Rood Screen. At Wells Cathedral, the Mediaeval arrangement was restored in the 20th-Century, with the Mediaeval "Strainer Arch" supporting a Rood, placed in front of The Pulpitum Screen and Organ.



The Pulpitum Screen, in Exeter Cathedral, Devon, England,
photographed in the Early-20th-Century, The Interior of The Pulpitum Screen was opened up
in a 19th-Century reconstruction, so as to provide worshippers with a view of The High Altar. Originally it was solid.
Original publication: Stabb, John. Some Old Devon Churches, Their Rood Screens, Pulpits,
Fonts, etc (Simpkin, Marshall, Hamilton, Kent and Co, London, Vol I, 1908). Frontispiece.
URL: http://www.wissensdrang.com/stabb000.htm (maintained by Roger Peters).
Author: John Stabb, photographer (1865-1917).
(Wikimedia Commons)


Rood Screens can be found in Churches in many parts of Europe: The German word for a Rood Screen is Lettner; the French word is Jubé; the Italian word is Tramezzo; and the Dutch word is Doksaal. However, in Catholic Countries, they were generally removed during The Counter-Reformation, when the retention of any visual barrier between The Laity and The High Altar was widely seen as inconsistent with the Decrees of The Council of Trent. Accordingly, Rood Screens now survive in much greater numbers in Anglican and Lutheran Churches; with the greatest number of survivals, complete with Screen and Rood figures, in Scandinavia. The iconostasis in Eastern Christian Churches is a visually similar barrier, but is now generally considered to have a different origin, deriving from the ancient Altar Screen or Templon.



Five-Panel Deësis (Centre).
Iconostasis in the Cathedral of The Annunciation,
This File: 6 February 2005.
User: .:Ajvol:
(Wikimedia Commons)


The word "Rood" is derived from the Saxon word "Rood" or "Rode", meaning "Cross". The Rood Screen is so called because it was surmounted by The Rood, itself, a large figure of The Crucified Christ. Commonly, to either side of The Rood, there stood supporting statues of Saints, normally Mary and Saint John the Apostle, in an arrangement comparable to The Deesis, always found in the centre of an Orthodox Iconostasis (which uses Saint John the Baptist, instead of John the Apostle, and a Pantokrator, instead of a Crucifixion).



The carved Pulpitum Screen,
Southwell Minster,
Nottinghamshire,
England.
Photo: 25 October 2005.
Source: Own work.
Author: Necrothesp.
(Wikimedia Commons)


Latterly, in England and Wales, The Rood tended to rise above a narrow Loft (called "The Rood Loft"), which could occasionally be substantial enough to be used as a Singing Gallery (and might even contain an Altar). However, the main purpose was to hold Candles to light The Rood, itself. The panels and uprights of The Screen did not support The Loft, which, instead, rested on a substantial Transverse Beam called "The Rood Beam" or "Candle Beam".

Access to The Rood Loft was via a narrow Rood Stair, set into the Piers supporting The Chancel Arch. In Parish Churches, the space between The Rood Beam and The Chancel Arch was commonly filled by a boarded, or lath and plaster, Tympanum, set immediately behind The Rood figures and painted with a representation of The Last Judgement. The Roof Panels, of The First Bay of The Nave, were commonly richly decorated to form a Celure, or Canopy of Honour, or there might be a separate Celure Canopy attached to the front of The Chancel Arch.

The carving or construction of The Rood Screen often included Lattice-Work, which makes it possible to partially see through The Screen, from The Nave into The Chancel. The term "Chancel" derives from the Latin word "Cancelli", meaning "Lattice", a term which had long been applied to the low Metal-Work or Stone Screens that delineate The Choir Enclosure in Early-Mediaeval Italian Cathedrals and major Churches. The passage through The Rood Screen was fitted with doors, which were kept locked, except during Services.



The Rood Screen,
now in The Lady Chapel,
Shrine of Saint Augustine,
Ramsgate, Kent, England.
Photographer: Nicholas Callinan.
Illustration: 



A Rood Screen in an Anglican Parish Church. The 15th-Century Rood Screen of
Saint Mellanus, Mullion, Cornwall, England, was restored, with Rood Figures and Rood Loft,
by F. C. Eden in 1925.
Photo: 6 December 2007.
Source: Own work.
Author: Mattana.
(Wikimedia Commons)



The Rood,
above The Rood Screen,
with The Rood Loft, behind.
The Church of Saint Mellanus,
Photo: 6 December 2007.
Source: Own work.
Author: Mattana.
(Wikimedia Commons)

Tuesday, 1 September 2015

Saint Giles. Abbot. Feast Day 1 September.


Text from The Saint Andrew Daily Missal,
unless otherwise stated.

Saint Giles.
Abbot.
Feast Day 1 September.

Simple.

White Vestments.



English: Parish Church of Notre-Dame-des-Marais, La Ferte-Bernard, Sarthe,
Pays de la Loire, France. Stained-Glass Window depicting Saint Giles.
Deutsch: Katholische Pfarrkirche Notre-Dame-des-Marais in La Ferté-Bernard im Département Sarthe (Pays de la Loire/Frankreich), Bleiglasfenster (baie 10), mit Fragmenten aus dem späten 15., dem 16. und dem frühen 17. Jahrhundert; Darstellung: Szenen aus dem Leben Jesu und Marias; Ausschnitt: Hl. Ägidius
Photo: 15 August 2015.
Source: Own work.
Author: GFreihalter.
(Wikimedia Commons)



English: Stained-Glass Window depticting Saint Giles and the hind.
Church of Saint Giles, Marsaneix, Dordogne, France.
Français: Vitrail représentant Saint-Gilles,
église Saint-Gilles, Marsaneix, Dordogne, France.
Photo: 3 November 2008.
Source: Own worrk.
Author: Père Igor
(Wikimedia Commons)


Saint Giles, born in Athens, distributed all his patrimony to the Poor and followed Jesus (Gospel). Several Miracles having made him celebrated, he fled to Provence, France, to escape away from honours. He lived in Prayer and Meditation (Introit) in the depths of a vast forest, with no other food but roots and the milk of a tame hind.

One day, when pursued by the hounds of the Visigoth King, Wamba, the hind fled to the grotto of the Saint, who, while trying to protect her, had his hand pierced by an arrow. The King, on his arrival, urgently begged the Saint to consent to the building of a Monastery on the spot.



English: Parish Church of Saint Giles, Dietfurt, Bavaria, Germany.
Deutsch
Stadtpfarrkirche St. Ägidius (Dietfurt a. d. Altmühl)
Date: 11 September 2008 (original upload date).
Source: Own work.
Author: A. Reinsch (Unteroktav).
(Wikimedia Commons)


The Holy Hermit undertook its governance and, like Moses among the people of God (Epistle), he became the Chief and Law-Giver of a numerous Monastic family which followed his leadership, his Doctrine, and his Counsels (Communion). This happened in 673 A.D.

The Abbey of Saint Giles, a marvel of architecture, became one of the most frequented resorts of Pilgrims in The Middles Ages, and a Town arose there. The Counts of Toulouse regarded it as an honour to bear this Saint's name.

The ancient Missals place him among "The Fourteen Auxiliary Saints". He was invoked in France, Spain, Italy, Belgium, Germany, and England, where 146 Churches were built in his honour. Saint Giles died about 721 A.D. His tomb was discovered in 1865.

Mass:  Os justi.
Commemoration of The Twelve Brothers. Martyrs.


THE SAINT ANDREW DAILY MISSAL





THE SAINT ANDREW DAILY MISSAL

Available (in U.K.) from

Available (in U.S.A.) from


Oh ! I Wished One's Garden Looked Just A Little Bit Like This. I Must Have Words With The Third-Under-Gardener.



"A Feast of Colors",
Japanese Gardens of Portland,
Oregon, USA.
Photo: Derek Kind.
Illustration: 500PX.COM

Monday, 31 August 2015

Saving Aramaic. The Language Of The Ancient Near-East. Spoken By Our Lord Jesus Christ.



The Aramaic Language
inscribed in stone.
Illustration: WORLD ARCHAEOLOGY



The 7th-Century Monastery of Rabban Hormizd, only 28 miles North of Mosul,
Iraq, is situated on The Front Lines of the battle against Islamic State.
Illustration: WORLD ARCHAEOLOGY


The following Text is from 

For more than three Millennia, Aramaic was spoken across The Near East, but, today, the language is in danger of being lost for ever. Colin Clarke reveals a new project, desperately fighting against the odds, to preserve the inscriptions that link us to our spoken past.

Aramaic was once an international language that extended across the ancient Near East, from Mesopotamia to Egypt. It was the official language of The Achaemenid Empire, in the 5th- and
4th- Centuries B.C., and continued as a Lingua Franca down to the 7th-Century A.D.

In New Testament times, Aramaic was the daily language of Jesus and his Disciples:

καὶ κρατήσας τῆς χειρὸς τοῦ παιδίου λέγει αὐτῇ,
Ταλιθα κουμ, ὅ ἐστιν μεθερμηνευόμενον
Τὸ κοράσιον, σοὶ λέγω, ἔγειρε

And taking the child’s hand, He said to her,
Talitha kum’, which means ‘Little girl, I say
to you, arise.’ (Mark 5:41)

Here, the Aramaic phrase, Talitha kum, is translated for the Greek-speaking audience of the Gospel. Syriac is the Christian dialect of Aramaic, and, as such, it offers a direct link to the language and traditions of The Early Church. Syriac-speaking Edessa, located in Northern Mesopotamia, in what is now modern Turkey, was the first Christian Kingdom.



A depiction of Saint George and The Dragon at the Syriac Orthodox Church of Mor Gıworgıs,
at Qaraqoš, in Nineveh, Iraq, destroyed in 2006. The inscription above it is in
Syriac, Garshuni, and Arabic.
Illustration: WORLD ARCHAEOLOGY


Sebastian Brock, Professorial Fellow at Wolfson College, Oxford, and an expert on the Syriac language, maintains Christianity has three traditional elements: Latin, Greek, and Syriac. Brock suggests that each element emphasises aspects not always seen in the others: Latin, the legal; Greek, the philosophical; Syriac, the symbolical and poetical. It should be noted that philosophy is not traditionally part of Semitic thought; Biblical wisdom texts are expressed in poetry.

With the expulsion of Christian communities in the Middle East, we are witnessing the uprooting and destruction of a heritage that extends back to Apostolic times. When Mosul fell to the Islamic State, it marked the first time in 1,600 years that the Church Bells of the City stopped ringing.

In November 2013, the Canadian Centre for Epigraphic Documents (CCED) launched the World’s first Syriac inscriptions database. The Centre is currently focusing on the Harrak Collection of Iraqi-Syriac and Garshuni inscriptions, that are largely from Mosul and the Plain of Nineveh. Even before the Islamic State invasion of Northern Iraq, a number of documents, that the CCED were working with, were only extant copies of now damaged or lost inscriptions.

CCED is a non-profit organisation, founded in order to archive, catalogue, and digitise epigraphic materials. This is a non-political, non-religious organisation, staffed by professionals and graduate students from the information field: librarians, archivists, and digital humanists. While receiving the support of scholars and organisations the World over, the Centre continues to work on a zero budget – all staff are volunteers. For the CCED to move forward with its goals, funding is needed.



The inscription from the Chaldean Church of Mar Eša‘ia, in Mosul, Iraq, is written in poetical metre. Line 16 offers a hidden chronogram: The year of death is given when the numerical values of the letters are added together: O Romanos the Priest, as watchful Angel, enter your heaven! = 1870.
Illustration: WORLD ARCHAEOLOGY


In addition to the Harrak Collection, the CCED is working with the Talay Collection of Syrian Syriac inscriptions, dating from the 10th-Century A.D; The St Ephrem Ecumenical Research Institute
(SEERI) Collection, and the Association for Preservation of Saint Thomas Christian Heritage (APSTCH)/Perczel Collection, both from Kerala, India. These contain Syriac, Malayalam, Tamil, and Pahlavi inscriptions, possibly dating from the 9th- and 10th-Centuries to the 20th-Century.

The Centre has just launched the CCED Journal, an open-access, peer-reviewed publication relating to epigraphic studies.

While the Centre operates with no budget, sectarian violence across The Middle East is accelerating the destruction of Syriac Christian heritage. Many, if not most, of the Iraqi- Syriac inscriptions that the CCED is working with are the only copies of now- lost inscriptions. Meanwhile, inscriptions in India are also in danger of being lost through neglect. Every time the Centre adds another inscription online, that inscription is saved from oblivion. Each word saved is a victory.


FURTHER INFORMATION

Visit the Canadian Centre for Epigraphic Documents Website to see more about their work, and details of how to support the project: www.epigraphy.ca

This Article appeared in Issue 72 of Current World Archaeology. Click here to subscribe.

Related Posts Plugin for WordPress, Blogger...