Saturday, March 21, 2020

Praying the dry Mass: what to do in times of pestilence

A few nights ago, I attended a Liturgy of the Presanctified at the Ukrainian Catholic cathedral in Philadelphia: one of the last public Catholic liturgies in the entire region. After the final prayers, the Metropolitan himself gave a short homily explaining his decision to order a shutdown of all public worship in his archeparchy just two hours before. He said that the pandemic is an opportunity to enter more deeply into the Great Fast. Now, it would seem God is asking us to fast from even the liturgical life of the Church. Perhaps when public worship resumes, we'll no longer take its gifts for granted! Rather, we'll be able to unite our temporary deprivations with those Christians in China, North Korea, and other parts of the world where a lack of liturgy and sacraments is simply part of their everyday lives.

Until that day comes, what do we do? The specific act of hearing Mass on Sundays may be a precept of the Church (and, therefore, adjustable by the bishops), but the larger principle of setting aside one day of the week to rest and honor God is a divine commandment. The Bishop of the Ordinariate of the Chair of St Peter, to which I belong, has carefully chosen to "commute" the Sunday obligation to alternative acts of prayer at home, rather than dispense with it altogether. Until we return to normal, he gave his flock two options:
a. Prayerful reflection upon the Sunday Scripture readings, concluding that time by the recitation of the Prayer of Humble Access or the Anima Christi;
b. The recitation of the Rosary as a family.
Modern technology has given us an aid to option a: namely, that with rudimentary equipment, anyone can set up a broadcast of a private Mass for an entire community to watch from a distance. It's rather like a more advanced method of what St Charles Borromeo when the plague of 1576 ravaged his see of Milan. The archbishop ordered the shutdown of churches, but after the streets were cleared, he had altars set up at street intersections so that the people could hear Mass from their windows. This isn't an option today for those of us who don't live in dense European cities, a livestream is easy to set up and gives us visual evidence that the holy sacrifice still goes on behind closed doors, and is still efficacious even without our physical presence. Last week, I assisted my pastor with recording and singing for a simple sung votive Mass for the Sick in the Ordinariate Use--just the priest, with the aid of one server and one cantor--which may be seen on YouTube below. Additionally, starting this Sunday, we will provide livestreams of Sunday Masses using the same general format until it's safe to congregate again. The link to the first livestream, set for Laetare Sunday, is here.

Another method to help in fulfilling option a is more old-school: the use of the medieval "dry Mass" as a devotional tool. What's that, you ask? The term missa sicca--"dry Mass"--has several meanings. The most common today would be the act of practicing the motions of Mass by a deacon or seminarian studying to be ordained a priest. Another meaning is more of a historic usage: when a priest celebrates a liturgy that strongly resembles Mass, but without the offertory or consecration. In the medieval Church, priests sometimes used the dry Mass as a devotion because of the old prohibition against offering Mass in the afternoon (one which continued until the 1950's). Sometimes this would be abused. The missa venatoria ("hunter's Mass") was prayed for gentlemen in a hurry to go on the hunt. The missa nautica ("sailor's Mass"), on the other hand, was quite sensible. Missionary priests on ships to the Americas or Asia would go for months without celebrating a true Mass because of the risk of the Precious Blood spilling over during tosses and turns on the high seas. 

Michael Lofton, author of the Reason & Theology blog, has cleverly adapted a form of the medieval "dry Mass", inspired by a form used by the medieval Carthusian monks, for modern family use. Click on the link below to view the .pdf file he printed, which I encourage you to print out. You'll see that you can easily add in the Scripture lessons of the day.

Finally, a word on option b above: the Rosary is, of course, the most revered private devotion of the western Church. Pope Pius V led its recitation during a procession in Rome to pray for victory against the Turks prior to the 1571 Battle of Lepanto. More recently, this past Thursday, Pope Francis called for the whole Church to join in the Rosary (broadcast from Rome) to pray for a swift end to the coronavirus pandemic. It's an excellent devotion, especially for Catholic families who want nothing more than straightforwardly kneeling and making earnest supplication to the mother of God.

But for those seeking more, we can pause to reflect that the Rosary is called the "Psalter of Mary" because the full recitation is traditionally 150 Aves, in imitation of the 150 Psalms of David. It's a simpler way of praying the Psalter, which--in its fullest form--is prayed through the Divine Office, also called the Liturgy of the Hours. Where this liturgy is all too often mistakenly considered simply the obligation and domain of priests, these upcoming Sundays without access to the Mass might give the lay faithful an opportunity to consider how to make the praying of the Hours a part of their home life, at least on an occasional basis. 

As with the livestreaming of Mass, modern technology has made this aspect of liturgy more accessible than ever. Rather than buying expensive books and having to learn how to mark and turn the pages, apps like iBreviary do all the work for you. There are even choices in which form of the Office to use beyond just that of the reformed Roman Rite. For instance, Divinum Officium offers several iterations of the pre-conciliar Roman Office in Latin and various translations. Or for those who enjoy Morning and Evening Prayer in the Anglican tradition, John Covert has a website set up to easily pray that form of the Office as well. It is used by many members of the Ordinariates.

In the coming days, I believe things will get worse before they get better. I hope the above information at least serves as a useful guide for alternative methods of worship on Sunday. Until then, you can be assured that the Modern Medievalist is as busy as ever, helping set up livestreams at various churches or assisting as part of the "skeleton crew" for these liturgies in the absence of the usual ministers. Stay strong, pray for me, and look out for one another!

In this portrait of St Thomas More's family (based on studies by Hans Holbein c.1527), almost all members are holding their own books of hours to pray the Office at home.
An Act of Spiritual Communion (as given in the St Gregory's Prayer Book)
"In Union, dear Lord, with the faithful at every altar of thy Church where thy blessed Body and Blood are being offered to the Father, I desire to offer thee praise and thanksgiving. I believe thou art truly present in the Most Holy Sacrament. And since I cannot now receive thee sacramentally, I beseech thee to come spiritually into my heart. I unite myself unto thee, and embrace thee with all the affections of my soul. Let me never be separated from thee. Let me live and die in thy love. Amen."

The Prayer of Humble Access (said before Communion in the Ordinariate liturgy and BCP)
"We do not presume to come to this thy Table, O merciful Lord, trusting in our own righteousness, but in thy manifold and great mercies. We are not worthy so much as to gather up the crumbs under thy Table. But thou art the same Lord whose property is always to have mercy. Grant us therefore, gracious Lord, so to eat the flesh of thy dear Son Jesus Christ, and to drink his blood, that our sinful bodies may be made clean by his body, and our souls washed through his most precious blood, and that we may evermore dwell in him, and he in us. Amen."

Anima Christi (by St Ignatius of Loyola)
"Soul of Christ, sanctify me. Body of Christ, save me. Blood of Christ, inebriate me. Water from the side of Christ, wash me. Passion of Christ, strengthen me. O good Jesus, hear me. Within Thy wounds hide me. Separated from Thee let me never be. From the malignant enemy, defend me. At the hour of death, call me. And close to Thee bid me. That with Thy saints I may be Praising Thee, forever and ever. Amen."

Wednesday, February 12, 2020

Video: Sarum Vespers on Candlemas Eve

While posting on this blog has been slow, the Modern Medievalist has been hard at work. Today, the Modern Medievalism Facebook page exceeded 4,000 "likes". This has been partly due to new exposure over what many of you already know about: the Sarum Vespers which was celebrated last weekend at St Patrick's Church in Philadelphia. This historic occasion was attended by over 700 people, making it almost certainly the largest Sarum Use liturgy ever offered since the reign of Queen Mary I of England. Yours truly was the principal organizer of the event. I'm happy to say that its success has introduced me to deeper obligations: namely, the foundation of a new liturgical institute devoted to all forms of Catholic liturgy, but with special focus on the medieval uses, and those of the religious orders. The Durandus Institute for Sacred Liturgy & Music will likely demand more and more of my time; yet I hope to maintain this blog for more casual observations here and there.

A more detailed write-up of the Sarum Vespers will be posted on the New Liturgical Movement blog soon. In the meantime, I encourage you to watch the video of the Sarum Vespers below. If you open the link to YouTube, you'll find a detailed description with convenient timestamps for finding various sections of interest.

You are encouraged to follow the video with the congregational service booklet, which I designed and posted here.

Additionally, an official photo album may be found at this link.

Thursday, April 18, 2019

Notre Dame: the power of a "mere building"

I've been remiss in updating my blog since Holy Week of last year--but I simply couldn't let the catastrophe of this week go by without comment! In 2011, I had the privilege of touring the great cathedral of the archdiocese of Paris: Notre Dame. Here, at the starting point of every major road in France, where Saint Louis commissioned the southern rose window and where Napoleon was crowned emperor, I marveled with my own eyes what I had previously idealized in books or New World imitation. True, I was annoyed by the chattering of tourists and the dust collected atop the many neglected side altars. Nevertheless, the faith of many generations before my own was still palpable. I imagined the thousands, or even millions of souls washed clean in baptism at the font. During Vespers, I had trouble following the French service, but when it came time to sing the Magnificat, we did so in Latin, and I sang it as well as anyone else in the congregation that evening. The canticle of Mary has special significance for this church dedicated to Our Lady. In 1944, French and American soldiers were led here by Charles de Gaulle to sing the Magnificat in thanksgiving for the liberation of Paris from the Nazis.

A barricade in front of Notre Dame during World War II.

On Monday of Holy Week, as the world watched helplessly while flames spewed from the roof of Notre Dame, I found myself immensely grateful to have seen the cathedral when I did. It seemed, for a moment, as though over eight centuries of history were about to disappear completely before our eyes. Then, after the five hundred members of the Paris Fire Brigade heroically extinguished the flames, the smoke parted to reveal the genius of the cathedral's first architects. Their names may be forever lost to time, but the vault held fast. The stones remain standing to pass its legacy of faith and awe to another generation.

A diagram of the damage, courtesy of

In hindsight, it's no wonder that Notre Dame's builders would have taken some precautions in the event of fire. In an age when the only man-made light was through torches, and where hundreds of candles burned inside the cathedral's walls on a daily basis, an outbreak of fire was likely considered not just probable, but inevitable. Few surviving structures from the Middle Ages have come to us without any signs of fire damage across the centuries. Notre Dame's own counterpart in London, St. Paul's Cathedral, was wiped out by the great fire of 1666, paving the way for Wren's Baroque mausoleum as we know it today. (The Palace of Westminster survived, only to be wiped out by another in 1834 and rebuilt by Barry and Pugin into the Gothic Revival masterpiece we see today.)

13,000 logs were cut down to support the great roof of Notre Dame. Most of the timber was original, and after eight centuries, had long aged into firewood. Nevertheless, Notre Dame was built in such a way that if (or when) the roof caught on fire, the walls would still hold and the flames would not easily spread to the entire structure. Based on photos, we can see that the spire is gone; but that was part of a Gothic Revival restoration by Eugene Viollet-le-Duc (who has, incidentally, been featured on the right hand of this blog since its debut). The original spire was already lost by the 18th century. But the pre-conciliar high altar and the pieta behind it, the great rose windows dating to Saint Louis, and even the pipe organ survived the inferno. We have a chaplain of the Paris Fire Brigade (and former Fraternity of St. Peter priest), Father Jean-Marc Fournier, to thank for bravely rushing in to recover the Crown of Thorns, as well as the Blessed Sacrament. He even gave Benediction in the cathedral while it was still burning. For this and other acts of heroism under fire throughout his ministry (including surviving an ambush in Afghanistan while deployed as a military chaplain, and giving absolution to victims of the 2015 Bataclan music club massacre), Father Jean-Marc ought to be recommended for the Legion of Honour.
"The time when the fire attacked the northern bell tower and we started to fear losing it, was exactly the time when I rescued the Blessed Sacrament. And I did not want to simply leave with Jesus: I took the opportunity to perform a Benediction with the Blessed Sacrament.
Here I am completely alone in the cathedral, in the middle of burning debris falling down from the ceiling, I call upon Jesus to help us save His home.
It was probably both this and the excellent general maneuver of the firefighters that led to the stopping of the fire, the ultimate rescuing of the northern tower and subsequently of the other one.
We started Lent by imposing ashes and saying “remember you are dust”, and truly this was a miniature Lent: the Cathedral went to ashes, not to disappear, but to emerge stronger, as we Christians are, after the Resurrection of our Lord Jesus-Christ." 
--Father Jean-Marc Fournier, chaplain to the Paris Fire Brigade
The Crown of Thorns is encased in a reliquary commissioned by Napoleon, whose concordat assigned Notre Dame as its resting place. The Crown of Thorns previously resided in the Sainte-Chapelle nearby, but was secularized during the French Revolution.

Now that we can breathe a sigh of relief over Notre Dame's survival, it's worth reflecting: why does it matter in the first place? Yes, of course it's now recognized by most people around the world as a landmark heritage site. But during the Reformation, Huguenots attacked the cathedral as a house of idolatry, shattering windows and knocking down statues. Then, the Jacobins of the French Revolution identified Notre Dame as a power base of the old monarchy; in their foolishness, they cut off the heads of the statues above the main entrance to the cathedral, believing them to be old kings of France when they were really the ancestors of Christ. 

By the 1830's, there was talk of just tearing the old thing down completely until Victor Hugo published a certain famous book. The original novel was not actually called "The Hunchback of Notre Dame", nor was it principally about Quasimodo. Its true title is Notre Dame de Paris, its main character is the cathedral, and its purpose to stir the hearts of Frenchmen to the treasure in their midst. Hugo's efforts were directly responsible for the commissioning of Viollet-le-Duc to restore the crumbling Notre Dame to something of its former glory. In the spirit of the Gothic Revival led by Pugin in England, Viollet-le-Duc attempted to be faithful to the cathedral's Gothic origins, though his flights of fancy couldn't stop him from building a spire even taller than the one which came before.
"And who substituted for the ancient gothic altar, splendidly encumbered with shrines and reliquaries, that heavy marble sarcophagus, with angels' heads and clouds, which seems a specimen pillaged from the Val-de-Grâce or the Invalides? ... Fashions have wrought more harm than revolutions. They have cut to the quick; they have attacked the very bone and framework of art; they have cut, slashed, disorganized, killed the edifice, in form as in the symbol, in its consistency as well as in its beauty. And then they have made it over; a presumption of which neither time nor revolutions at least have been guilty." --Victor Hugo, Notre Dame de Paris, chapter 39
The Internet never lets us forget that the barbarians will always be with us. Hopefully you, dear reader, didn't find yourself subjected as I did to as many outrageous comments--whether by gloating Calvinists or leftist iconoclasts--rehashing the same clumsy attacks thrown by their ideological forebears of times past. They are the lashings-out of small minds, altogether less worthy of our notice than that of a single firefighter daring to answer the call of duty, to say nothing of a single peasant laying a brick of the original foundation as a labor of love and devotion, knowing he would never see the fruits of his work in his own lifetime. The naysayers' only purpose is a reminder for the rest of us to be vigilant. The gifts of civilization are not easily understood, much less appreciated, by everyone.

Viollet-le-Duc's restoration plans were much more ambitious than what he could actually achieve.
Above all, as nations and benefactors around the world pledge money and personnel to restore Notre Dame, the medievalists must continually remind them of the cathedral's first and highest purpose. Notre Dame is not just an icon of French culture (though it is that). Nor is it just a monument to the ingenuity of western civilization at large (though it is that too). Notre Dame was built by free laborers over the span of two centuries, most knowing they would never see it finished, to point the hearts of those within heavenward. Dead stones and trees were fashioned to worship the living God. The Parthenon may have long outlasted the cult of Athena, but the sacrifice of Christ was renewed on Notre Dame's altars daily right until the roof collapsed. Even the Temple of Solomon was built chiefly for the use of one race, but Notre Dame was always a house of prayer for all nations, inspiring imitations on every continent of the earth. 

A perfect story to illustrate Notre Dame's universal appeal: King Amon of Sanwi (in the Ivory Coast) just pledged to send a contribution, saying,
"the pictures disturbed my sleep and I could not spend the night, because this cathedral represents a strong link between my kingdom and France." 
His 17th century predecessors in Assinie sent Prince Aniaba to France to learn French ways. Aniaba was baptized at Notre Dame by Bishop Bossuet--his godfather was the Sun King himself. During his time in France, Aniaba was tutored alongside the Dauphin and made a cavalry officer, where he fought in the War of the League of Augsburg. Before returning to Assinie, he was invested as a Knight of the Star of Our Lady, again at Notre Dame.

Let's remind the world, then, that Notre Dame de Paris doesn't rightfully belong to Emmanuel Macron, or the billionaires who have pledged to restore the roof, or even the archbishop of Paris himself. They may try to remake the cathedral in their own image, but Notre Dame belongs to God and Our Lady. The archbishop of Paris and the people of France hold Notre Dame in trust for one reason: to call every man, from the lowliest serf to the most exalted emperor, to bend the knee in worship. In the words of the Virgin, "my soul doth magnify the Lord. And my spirit hath rejoiced in God my Saviour."

"Mass Said by the Canon de La Porte", by Jean-Baptiste Jouvenet. This seems to show the Parisian Rite of Mass (note the acolyte returning the chalice after Mass, and some servers wearing full-length albs). A 1766 Parisian Missal may be read here.

Some key events in Notre Dame's history: 

1160: the bishop of Paris, Maurice de Sully, has the old Romanesque cathedral torn down to make way for a Gothic structure like those in Saint-Denis and Sens. 
1163: Pope Alexander III and King Louis VII (the same who hosted Saint Thomas Becket during his exile) lay the cornerstone of the new cathedral. 
1260: Saint Louis IX commissions the south rose window. 94 medallions depict the life of Christ, the apostles, and patron saints of Paris. 
1302: King Philip "the Fair" convenes the three estates of the realm--the Estates General--for the first time. 
1345: the cathedral is considered complete, nearly two hundred years later. 
1431: during the Hundred Years' War, Henry VI of England is crowned King of France in Notre Dame as a response to the French King Charles VII's coronation at Reims (led by Joan of Arc). Henry was 10 years old, and was crowned King of England at Westminster Abbey two years before.  
1548: Notre Dame is partially damaged by rioting Huguenots. 
1558: Mary, Queen of Scots is wed to the Dauphin at Notre Dame. 
1625: Princess Henrietta Maria is married by proxy to King Charles I of England outside the doors of Notre Dame. 
17th-18th century: the Sun King moves the royal court away from the masses of Paris to his father's hunting lodge in Versailles. Notre Dame is increasingly neglected as a site of royal events, and becomes seen more as a house of the people. However, Notre Dame nevertheless hosts the wedding of Louis XVI and Marie Antoinette. 
1793: during the Reign of Terror, Notre Dame is "rededicated" as a Temple of Reason. Sophie Momoro is enthroned over the cathedral's altar as "goddess of liberty". The cult of reason (and its successor, the cult of the Supreme Being) is short-lived, but the damage is done. Notre Dame is converted to a warehouse for the rest of the Revolutionary period. 
1802: Napoleon signs the Concordat, re-establishing the Catholic Church and restoring Notre Dame as an active church. Archbishop Jean-Baptiste de Belloy celebrates Mass (on Palm Sunday) for the first time at the cathedral's high altar in 12 years.  
1804: Pope Pius VII anoints Napoleon as Emperor of the French in one of the most expensive and elaborately staged coronation ceremonies in the history of the world. A new ceremony is drawn up, which combines elements from the Roman Pontifical, the ancient French ceremony at Reims, and some of Napoleon's own making. (Contrary to popular belief, Napoleon did not take the crown out the pope's hands to crown himself. He ascended the steps and took the crown from the high altar: an act which was approved and rehearsed beforehand.) Napoleon also crowns Josephine as empress, much to his mother's dismay. 
1831: Victor Hugo publishes Notre Dame de Paris, bringing a new level of cultural awareness to Notre Dame's significance. 
1844: spurred on largely by the success of Hugo's book, King Louis Philippe authorizes a restoration of the cathedral, led by Jean-Baptiste Lassus and Eugene Viollet-le-Duc. A new spire is added to replace the one lost in the 18th century. 
1944: French and American soldiers, led by Charles de Gaulle, converge at Notre Dame to celebrate the liberation of Paris. 
2013: a new grand bell is added to the tower as part of the cathedral's 850th anniversary celebrations.

The Coronation of Napoleon by Jacques-Louis David really depicts the coronation of Josephine as empress. The pieta behind the high altar is partly seen on the right-hand side.

Saturday, April 14, 2018

The glorious return of the boy choir

(Photo credit: Mitchell Mark)
 In 2014, I visited Mater Dei Parish in the Diocese of Dallas (the FSSP's largest apostolate in the US) for a Sunday Mass on my way to attend a concert by the world-famous Choir of Westminster Abbey, over at Incarnation Episcopal Church. I even took the occasion to write about the importance of men & boys' choirs on my blog afterward. Well, as Providence would have it, my focus returns to Dallas once again. I'm pleased to share with you--nay, shout "alleluia" across the rooftops--that the very same Mater Dei Church recently debuted its own choir of men and boys! This is, as far as I know, the only boys' choir dedicated to the traditional Latin Mass in the entire United States. The FSSP's efforts in Dallas here are an unqualified triumph for traditional liturgy and a beacon of inspiration for the rest of us around the world. 

To celebrate this advancement and share the news with my readers, I casually spoke on the phone with Mater Dei's associate music director and founder of the Men & Boys Choir program, Mr. Chase Fowler. Mr. Fowler (incidentally a longtime reader of this blog) began at Mater Dei in 2016. He has a highly liturgical spirit and knew very well that the perennial tradition of the Church, when it comes to sacred music, as constantly expounded upon by Saint Pius X and other popes and leaders of the liturgical movement, valued the schola cantorum of men and boys singing together as the ideal. While Mater Dei is blessed to have many parishioners--five fully packed Masses back to back on Sunday, as many old-timers remember before Vatican II--they still have all the other obstacles against establishing a boys' choir that most of us do. The parish has no school at all, much less one that could focus specially on a music curriculum. Most parishioners live outside the usual territorial parish boundaries (some as far away as the state of Oklahoma, I hear), so commuting on another day of the week for even just one rehearsal after school hours is a pain. 

And yet, undaunted by any of these challenges, Mr. Fowler pressed on. The fruits of their labor blossomed this Passion Sunday, March 18, when the Men & Boys' Choir, clad in the traditional cassock and surplice of an ecclesiastical choir, sang in liturgy for the first time at the 9am missa cantata. The men naturally handled the minor Propers in their full melodies from the Liber Usualis, while the boys assisted with the Ordinary of the Mass. Not to be treated with kid gloves, the boys still capably handle serious choral works of the Catholic tradition by composers like Palestrina and Victoria: a feat most professional directors might scoff at as impossible for boys not enrolled in a full-time choir school and, therefore, not even worth trying. So far, the boys' choir is still going strong. They'll continue to sing at Mater Dei, in rotation with the other choirs of the parish, until the end of this term (the Fifth Sunday after Easter).

Why all the fuss, though? Why not just rely on capable female singers, like virtually every other church does? Mr. Fowler and I chatted about this, and he outlined a few reasons: 

The spirit of the liturgy: the choir of Levites

Illustration of the old cursus honorum. The first four degrees after tonsure are the minor orders.
First, the all-male choir is most in keeping with the spirit of the liturgy. Basically all Catholic communities dedicated to traditional liturgy in some form or another (whether the traditional Latin Mass, the "Anglican" Ordinariate, or the Eastern rites) accept that altar servers should all be male. Lay altar servers fill roles which were, in times long past, exercised only by men or boys who were tonsured and "ordained" to the minor orders. These minor orders eventually came to be restricted to men in formation for the priesthood, despite the canons of the Council of Trent ordering them to be restored to normal parish use. The canons were ignored, but it was universally understood that lay substitutes should at least potentially be able to be ordained acolytes... therefore, male.

What even most traditional Catholics today have lost is the understanding that singing in an ecclesiastical choir is, in itself, a form of altar service; perhaps better described as the foundation of all other altar service. This is obvious if you observe the daily worship at a traditional seminary or monastery chapel. A few seminarians assist the ministers at the altar as acolytes, but the rest sit in the choir stalls in cassock and surplice (fittingly called "choir dress") and assist primarily by singing the Mass or Divine Hours. The sheer amount of singing done at a traditional seminary is probably mind-numbing to diocesan students, but this is simply how the clergy lived for the first seventeen or so centuries of Christian history. In medieval times, an inability to sing on-key was considered an impediment to priestly ordination. This is why medieval literature usually describes priests not as "saying", but as "singing Mass".

The ideal of the seminary choir is shown beautifully in the FSSP's promotional video above for their Requiem album.

One of the biggest favors any parent can do for a son who might have a vocation to Holy Orders, therefore, is to develop his singing talent at a young age. This is where a boys' choir comes in. By learning liturgical music, especially how to read and sing Gregorian chant, and by becoming intimately familiar with many settings of the Ordinary of the Mass (Kyrie, Gloria, Credo, Sanctus, Agnus Dei), a boy is formed in liturgy just as he would by serving the altar. Indeed, a boy's time is better spent in learning music because the ceremonies of altar service are easier learned as a teenager or adult, while the skills for singing are better formed from youth. But whether the boys sing well or poorly, they nonetheless fulfill a clerical role in liturgy which can't be said for mixed or women's choirs. Pius X felt strongly enough about this that, in his 1903 motu proprio on sacred music, Tra le sollecitudini, he banned women from church choirs entirely (with varying levels of success):
"With the exception of the melodies proper to the celebrant at the altar and to the ministers, which must be always sung in Gregorian Chant, and without accompaniment of the organ, all the rest of the liturgical chant belongs to the choir of levites, and, therefore, singers in the church, even when they are laymen, are really taking the place of the ecclesiastical choir. Hence the music rendered by them must, at least for the greater part, retain the character of choral music."
"On the same principle it follows that singers in church have a real liturgical office, and that therefore women, being incapable of exercising such office, cannot be admitted to form part of the choir. Whenever, then, it is desired to employ the acute voices of sopranos and contraltos, these parts must be taken by boys, according to the most ancient usage of the Church."

Feminization of sacred music and decline into performance art

The Choir of King's College, Cambridge, established by King Henry VI in 1441, is considered by many to be the greatest men/boys choir in the world.
Second, an all-male choir helps counteract the feminization of sacred music. Here, I don't mean to denigrate the countless women who devote so much time and talent towards the betterment of worship (nor do I have any foolhardy plan to abolish women from church choirs overnight). Indeed, it's because of women's tendency to more freely devote their time that church choirs everywhere have more women than men unless they enforce an all-male schola. Traddy parents often, subconsciously, send their boys to serve, and their girls to sing in choir. The end result is that singing becomes perceived to be a feminine activity, or perhaps a consolation for not being able to serve the altar. The greater consequence is that the choir becomes divorced from its traditional understanding as a liturgical office, and then becomes focused more as performance art--pretty background music while the real work is done around the altar.

Some of the strongest evidence for this mentality is from a screed I found in the April 1917 issue of The Musical Quarterly, titled "The Boy Choir Fad", which you can read in full here. N. Lindsay Norden wrote this diatribe as a response to the revival in the later 1800's of boys' choirs, starting in the Anglican churches with the Oxford Movement, then expanding to Rome by the efforts of the Cecilians and others we might call "plainchant fundamentalists". Here are some of the more pungent excerpts:
"The boy choir fad has grown so alarmingly that the choral ideals of the American church will degenerate unless a decisive check is firmly put upon this disastrous evil in church music."

"Who would dare compare any boy choir with some of the splendid mixed choirs in New York City? Only an individual with no musical conceptions upon which to base judgment, or perhaps one imbued with the idea that a 'real' church choir should look in real life as some painters have elected to picture it."

"The principal elements which have made for the development of the boy choir are: sentimentality, a certain amount of ignorance about the 'angelic' qualities of a boy's voice, hollow imitation of the English church, and the unusual belief that it is not proper to have women in the chancel."

"If church music standards in this country are to equal those in the secular field, the boy choir must go. Rational, refined, musical considerations must overcome sentimentality, and uncultured, unworthy motives, which make for lower standards and insufficient results."
And perhaps worst of all:
"Church music in this country is mainly a mechanical echo of the ideals of the English church, which some of us consider the stupidest and dullest the world has ever known."

For the Modern Medievalist, at least, all these protests simply betray a mind more geared to sacred music as performance art rather than an act of liturgical worship. In any case, I would say Mater Dei's success over one hundred years after the publication of Norden's screed, long after the "fad" of boys' choirs collapsed everywhere outside of the most famous English cathedral and collegiate institutions, shows that with faith, the impossible can be made possible.

The chancel: uniting altar and choir

The chancel of Bristol Cathedral, with choir stalls
Mater Dei doesn't have a chancel and so this isn't an option for them, but this aspect of the choral tradition deserves some commenting on as well. A much more edifying article was posted in response to the above piece, in The Musical Quarterly's July issue of the same year, titled "Why We Have Male Choirs in Churches". This piece, which explains how all-male choirs were inherited even from the ancient Temple of Solomon under the Old Covenant, can be read here. It goes on through medieval history up to the Anglican movement to restore proper chancels with choir stalls, now seen in so many Anglican churches built from the mid-1800's and after. Ironic that so many Catholics perceive the choir loft in the back of the church as the more traditional style when it was really a later innovation to accommodate the introduction of women singers. The article has a fascinating quotation from the Bishop of Covington (presumably Ferdinand Brossart):
"We have succeeded in the past in removing the choir as far as possible from the altar, and have been spending money in the wrong way. Therefore we need not be surprised that we have succeeded in banishing also the music of the altar, the music of the Holy Service, from the church, and have substituted in its stead something more in keeping with exterior worldliness and profanity, and, with all, we have driven in a measure from the hearts of our men and boys that love for things most sacred, which the closer communication between altar and choir fostered so extensively in the Ages of Faith. Let us learn to spend more and more wisely, and restore the chancel choirs to the churches, and bring our men, old and young, back into the Sanctuary of God, that they may take a more active part in our magnificent Liturgical Service. Let us return to the old Catholic way of building our churches with a long chancel, and, if possible, an organ chamber, and vestries not only for the priests but also for the choristers. Let us bring altar and choir nearer each other."

A powerful call to action, to be sure! When I bring my chant schola out to some church for Mass, there are many times when we have to sing in the choir loft as a practical necessity because of the architecture of the place. However, whenever possible, I try to situate us within or near the sanctuary to emphasize our role as a true liturgical choir. 

It's also worth revisiting one of my favorite quotations from Augustus Welby Pugin, in his Earnest Appeal for the Revival of the Ancient Plainsong, which I transcribed for my blog long ago (see here). In addition to his many skills as architect and designer, the father of the Gothic Revival also sensed the importance of recovering the Church's traditional Gregorian chant. He had this to say about the state of choir lofts in his day:

"Formerly such persons as now constitute the choir were unknown. The service was sung in Parochial Churches, between the clerks and devout laymen (ministri), who assisted them in the chancel, and the people in the body of the church, who responded in unison. This grand and overpowering effect of the people answering the priest is yet to be heard in parts of Germany. At Minden the Habemus ad Dominum rose from more than two thousand voices of faithful worshippers. What a difference from the vicarious reply of three or four professionals, thrusting their heads from out of their curtained gallery in the intervals of their private conversation, and whose hearts, instead of being raised up, were probably groveling in the contemplation of a pull at a wine bottle between the acts of the performance, for it must be distinctly understood that all persons who sing in galleries are performers by position. Nutshells, orange peel, and biscuit bags, abound in organ lofts and singing galleries, and those who are acquainted with the practical working of these places must be aware, that they are a constant source of scandal and irreverence.  

Now, when we contrast the Catholic arrangement in a chancel to their miserable expedient of a gallery, we shall at once perceive the infinite wisdom and beauty of the former. All are habited in vestments, whose colour reminds them of the purity of heart and intention, with which they should celebrate the praises of Almighty God. They stand within the sacred enclosure set apart for sacrifice; the very place tends to preserve a recollection of the Divine presence, and to keep the singers in a devout posture. The distinct and graduated Chaunt offers no impediment to the perfect union of the heart and mind with the words as they are sung; and in lieu of a more empty and vain display of vocal eccentricities, we have a solemn, heartfelt, and, we may trust, an acceptable service to the honour of Almighty God."

The next step: the parochial school

The Atonement Academy, San Antonio
Mater Dei has shown us that it's possible to establish a boys' choir even without the benefit of a school. Still, for the perfection of the art, a school is the logical next step. In my chat with Mr. Fowler, he said one of his inspirations was the parochial school attached to my hometown parish, Our Lady of the Atonement in San Antonio, where I was received into the Church. The Atonement Academy is a full K-12 school (for both boys and girls) in the Ordinariate of the Chair of Saint Peter which, in addition to its overall mission in providing an orthodox Catholic education in the classical liberal arts tradition, requires every student, in every grade, to be in a choir. For this, Atonement has the outstanding honor to have one of the only Catholic parish churches in the whole world to have a daily choral Mass during the school year. 

The Atonement Academy represents a rare example of the fulfillment of an ideal espoused long before, during the original Liturgical Movement of the early 20th century. I recently picked up a book from 1963: really, a collection of essays titled Liturgy for the People. Most of the authors are Jesuit priests of a heavily progressive stripe, typical for the era. But one essay stands far above the rest: it's titled "The Schola Cantorum and the Parish School", by Theodore N. Marier. Marier was one of the leading advocates of Gregorian chant in the American Church, and was the second president of the Church Music Association of America. Shortly after writing this essay, he went on to found the St. Paul's Choir School in Cambridge, Massachusetts: the only Catholic boys' choir school in the United States. It still exists today (see website here) and is working hard to reclaim its identity as a liturgical choir, even singing Vespers every Thursday.

But what about the essay? In it, Marier says that the difficulties in fully participating in the liturgy are not Latin or Gregorian chant, but a lack of education. It's important to observe that Marier wrote this essay at the height of the Catholic parochial school's glory days in the US. Indeed, Marier himself seems to know it at the time of his writing: "our vast and complex network of parochial schools serving the cause of Catholic education from the kindergarten through graduate schools is vigorously operative in these times."

And yet, he laments that almost nowhere is any of this energy being directed toward the cause of sacred music. Where they are thought of at all, the choirs are "lunchtime choirs", with rehearsals made only during recess while other kids are at play. Drawing on the many statements from the popes of that era on the need for a schola cantorum to be established in every parish, Marier outlines a plan in his essay for every parish school:

First, of course, is the hiring of a full-time music director. The director would be responsible for developing a special curriculum for choir boys within the larger school, with the assistance of two other teachers, from fifth to eighth grade.

Second, one of the parish priests would be assigned to the schola's spiritual direction. He would teach the boys Latin, the liturgy, and how to serve Mass (all choirboys would also be expected to serve the altar).

Third, as the schola develops, it would take on more and more liturgical duties, enhancing the overall life of the parish. The schola would become the principal choir for Sunday high Mass and major feasts, and hopefully take up one or more of the Divine Hours (such as Vespers or Compline). Teams of boys in rotation would handle the cycle of Requiems, weddings, and other votive Masses as they come.

Marier ends this essay with an imperative, which is as relevant for 2018 as it was for 1963. I'll use it to end this column as well. Marier writes:
"The training of leaders must begin early in their formative years and continue over a long period of time. The Palestrina, Josquin Des Pres, Guido D'Arezzo or even St. Gregory of tomorrow is perhaps today in a parochial school third grade, waiting to be led, encouraged, and motivated by the Church to a life of fruitful creativity in her service. If the opportunity of training him is not seized now, the Church will sit by and watch him spill out his musical talents in the service of the theater or a television network, instead of in the fully dedicated service of her liturgical music."

My personal favorite men/boys choir is that of Westminster Cathedral (the chief church of the Catholic Church in England, often confused with the also-excellent Westminster Abbey Choir)

Monday, March 26, 2018

"Hail, holy chrism": on the Chrism Mass and the stuff that makes kings

Bishop Olmstead at the Diocese of Phoenix's Chrism Mass, 2015
"Therefore, O Lord, holy Father, almighty, everlasting God, do we beseech Thee through the same Jesus Christ thy Son, our Lord, to be pleased by thy blessing to sanctify this substance, and to mingle thereto the power of the Holy Ghost with the co-operation of the presence of Thy Son, the Christ, from whose Holy Name it taketh its name of Chrism--a Chrism wherewith Thou hast anointed Priests, and Kings, Prophets and Martyrs..."
--from the traditional prayer by a bishop to consecrate holy chrism

It's hard for me to put it in any better terms than that prayer above: chrism is perhaps the holiest sacramental in the entire Catholic tradition. With it, the Church confirms new members of the faithful, anoints the hands of newly ordained priests, consecrates chalices for holding the Precious Blood of Christ, and makes kings worthy to wear a crown. It even gives the Christian faith its name, for Jesus is called the Christ: the Anointed One. From Genesis to Revelation, Scripture is chock full of instances where holy oil was used to mark a person or thing apart, so it's no surprise that apostolic Christians continue to use oils for sacred purposes today. From its origins in the Biblical ages to now, the Church gradually came to bless three different types of oils:

  • The Oil of the Sick: pure olive oil used for the sacrament of Extreme Unction (or Anointing of the Sick). The act of having a priest anoint the sick was described in the Epistle of Saint James: "Is one of you sick? Let him send for the presbyters of the church, and let them pray over him, anointing him with oil in the Lord’s name."
  • The Oil of the Catechumens: also pure olive oil, used to anoint those who are about to be received into the Church by baptism. Like an athlete of ancient Greece anointing himself with oil before competing, the Oil of the Catechumens prepares the recipient before undergoing the path to conversion. 
  • The Holy Chrism: olive oil mixed with balsam, this is the holiest of the three types. It's used in the rite of Baptism, and is the essential matter for the rite of Confirmation. A newly ordained priest is anointed on the palms of his hands with Chrism as well. So, too, was the oil held by the Ampoule (the vial used for the anointings of the kings of France) sacred Chrism. Pope Innocent III apparently tried to assert his authority over the kings of France by revoking the right to use Chrism in their coronations, but to no effect.  
The ampulla and spoon used for the anointing of the British monarch, first made for the coronation of Charles II in 1661. The older ampulla was destroyed by Parliamentarians following the English Civil War. The spoon, though, is medieval.
From the 5th century on, the Latin Church has reserved the consecration of chrism to the bishop alone--an ordinary priest could in theory, but he's forbidden from doing so by liturgical law. In a normal Catholic diocese, the bishop solemnly consecrates the chrism (and blesses the two other kinds) for the upcoming year at a special "Chrism Mass" together with all of his priests at his cathedral on the morning of Maundy Thursday, or some other day nearby. The priests then collect the oils and take them back to their parishes to replenish their stock for the year. In the Ordinariate of the Chair of Saint Peter, though, our communities are spread across the US and Canada, so in order for all the priests to fly out to the Chrism Mass, collect the holy oils, and get back to their parishes to celebrate Holy Week, we normally have this liturgy on the first Thursday of Passiontide. On odd-numbered years, it takes place at the Ordinariate's cathedral in Houston (where I was instituted as an acolyte in 2016)--on even years, at some parish elsewhere to allow more members of the faithful in that region to attend. Last Thursday, I would've had the honor of assisting the 2018 Chrism Mass at our sister parish in Scranton, Pennsylvania as a second master of ceremonies... that is, if it hadn't been cancelled on account of yet another snowstorm! (It will now be held tomorrow at the cathedral in Houston, whether or not our priests can make it.)

Our cathedral doesn't need me to fly halfway across the country just to boss around some junior servers, so instead, I'll share with my dear readers a few things I learned about chrism and the history of the Chrism Mass in preparation for that day.

First, that before the Holy Week reforms of 1955 under Pius XII, there was no separate ritual Chrism Mass to speak of! Some of you liturgy enthusiasts out there already know that, in the rules of the Tridentine liturgy before 1955, all the Holy Week liturgies (and all other Masses through the year except for the midnight Mass of Christmas) were celebrated in the morning. The blessing of oils were performed by the bishop at the usual Mass of the Lord's Supper at the cathedral. Since parish priests would be celebrating the same Missa in Cena Domini at their parishes, there was no notion of gathering the whole presbytery together for one Mass, either.

This is not to say that the Chrism Mass was invented completely out of thin air--or even that, if it was, it's necessarily a bad idea. The liturgical movement had a solid notion to rediscover the liturgical importance of the holy chrism and bring more awareness of it to the faithful, the vast majority of whom had probably never seen the majestic rites of the blessing of oils in action. But in order to make all this happen, the architects of the 1955 Holy Week reforms had to reach back over a thousand years into the past.

The early medieval Missa Chrismalis in Rome

Frontispiece of MS Reginensis 316 (the Vatican's copy of the Gelasian Sacramentary)
The last time we had a separate ritual Mass for blessing the holy oils was around the 8th century. We can find concrete evidence for this in the Gelasian Sacramentary, the second-oldest surviving liturgical book for the Roman Rite. In book I, section 40, we find the Missa Chrismalis. This Mass was to be celebrated around 1pm on Maundy Thursday by the bishop--and since this book was made for the church in Rome, that means the Pope. There is no fore-Mass ("Liturgy of the Word"), but rather, begins at the offertory. The preface, interestingly, refers to the chrism but not the bread and wine on the altar, nor the Eucharist at all.

17th century chrismatory for holding the three different oils
The bishop interrupts the Canon towards the end, before "per quem haec omnia...", to bless the Oil of the Sick. It's a strange custom to us today, but for many centuries, the end of the Canon was a customary place to bless sacramentals. (My own Ordinariate parish, for instance, uses the end of the Canon to bless simnel cakes on Laetare Sunday--an English tradition for Mothering Sunday.)

The bishop then goes on through the Lord's Prayer to the fraction, then retreats back to the throne where a deacon presents him with the chrism to consecrate. The prayer is a long, consecretory formula with a preface and preface dialogue: Sursum corda, Habemus ad Dominum, etc., like the Exsultet in the Easter Vigil. The prayer gives thanks to God for His creation, including the olive trees which produce the chrism about to be consecrated. It then walks us through Biblical history, from the olive branch borne by the dove after the destruction of the earth by flood, to Moses anointing his brother Aaron as a priest with oil, to chrism used at the baptism of Christ in the river Jordan. At last, it calls upon the Father to infuse the chrism with the Holy Ghost in the presence of the Son, the Christ: "from whose Holy Name it taketh its name of Chrism--a Chrism wherewith Thou hast anointed Priests, and Kings, Prophets and Martyrs". Yes, the same prayer quoted to begin this piece!

The bishop then says a prayer of exorcism over the oils and continues Mass with the Communion rite. The priests who have attended the Missa Chrismalis take the holy oils with them back their titular churches (the predecessor to "parishes") to celebrate the Mass of the Lord's Supper ad vesperam (in the evening).

The Tridentine "Chrism Mass"

An extremely rare instance of the pre-Vatican II rite being used. This was a Chrism Mass celebrated by Archbishop Haas of the Archdiocese of Vaduz (Liechtenstein) in 2014, according to the 1955 rite (more on that below).
The separate ritual Chrism Mass actually disappeared shortly after the time of the Gelasian Sacramentary. In the next century, the Sacramentary of Hadrian shows that the Pope simply blessed the oils at the Mass of the Lord's Supper. As well, now there is a complete fore-Mass. There aren't many changes for the blessing of oils from here up to the publication of the Pontificale Romanum following the Council of Trent. The rite for blessing the oils is substantially the same in the Tridentine Pontifical under Pope Clement VIII as it is in the Pontifical of 1485 under Pope Innocent VIII and his famous master of ceremonies, John Burchard... which, in turn, is substantially the same as the ceremony in book III of the Pontifical of William Durandus (late 13th century). This means that the blessing of the oils had not changed at all in the Roman Rite from the High Middle Ages up to the 20th century.

Having looked over these books above, plus the various ceremonial books such as the 1890 edition of the "Ceremonial for the Use of the Catholic Churches in the United States" and the 1914 "Manual of Episcopal Ceremonies" which lay out all the details, the rites for blessing the oils must have been utterly spectacular. In addition to all the usual ministers for a Pontifical Mass at the Throne, there are 12 priests in chasubles (for the Apostles, of course), 7 deacons in dalmatics (for the first deacons of the Church), and 7 subdeacons in tunics. This is the only instance in the pre-conciliar rite I can think of where a non-celebrating priest is wearing both the alb and chasuble (during the EF Corpus Christi procession, priests wear chasubles as a sign of their order, but not albs). This may have suggested to the Vatican II reformers that it was a relic of concelebration. More on this later.

The coped ministers are normal for a pontifical Mass at the Throne in the old rite, but note the 12 priests in chasubles along the sides, and the 7 deacons and 7 subdeacons.
The bishop vests during None (the ninth hour of the Divine Office), and Mass goes as usual for Maundy Thursday, though the subdeacon doesn't carry the paten with the humeral veil, but instead carries the thurible and incenses the Host and chalice at the elevations. The wooden clapper is used instead of Sanctus bells. As in the 8th century's Gelasian Sacramentary, the bishop stops toward the end of the Canon, before "Per aquem haec", to wash his fingers and go down the altar steps to a table readied in the middle of the sanctuary. The assistant priest (or "archdeacon") bids the Oil of the Sick to be brought forth by singing in the Prophecy tone, Olea infirmorum. One of the seven subdeacons, together with the MC and two acolytes, retreats to the sacristy and returns with the ampulla, labeled O.I. and veiled in violet. The subdeacon presents it to the archdeacon, saying Olea infirmorum, and the archdeacon does the same to the bishop. The bishop proceeds with an exorcism and then the blessing.

The bishop returns to the altar and Mass proceeds as usual until the Postcommunion. (The kiss of peace is omitted because Judas betrayed the Lord with a kiss on this day. The deacon saves one Host, which is to be used on Good Friday.) When the bishop returns to his seat, he blesses incense so the thurifer can lead the servers and all the extra vested ministers to the sacristy. The archdeacon bids them to to fetch the remaining two oils by singing Olea ad sanctum chrisma and Oleum catechumenorum. When they return, they form a procession back the "long way" (down the center aisle):
  • thurifer with burning incense,
  • subdeacon with the processional cross and two candlebearers,
  • the surpliced schola cantorum chanting the hymn O Redemptor,
  • six subdeacons,
  • five deacons,
  • the seventh subdeacon carrying the balsam (to be mixed by the bishop into the chrism),
  • the sixth and seventh deacons with white humeral veils--one with the Oil of the Catechumens veiled in green, the other with the Sacred Chrism veiled in white,
  • and then the twelve priests.
The bishop says two prayers, then mixes the balsam into a small portion of the chrism on a paten. He then sits and, like God breathing life into Adam, breathes over the chrism three times in the form of a cross. Then the twelve priests, almost as though it were like an act of concelebration, go up to the oils one at a time to do the same. The bishop then rises, prays an exorcism, and then sings the preface dialogue and formula for consecrating the chrism. This prayer is almost word-for-word the very same one used in the Gelasian Sacramentary (and quoted, in part, at the top of this piece), so this formula has been in use for well over a thousand years!

Now the bishop mixes the balsam into the rest of the chrism in the ampulla. Here follows the part of the rite that struck me the most, and which gives the title for this entry. The bishop bows toward the newly consecrated chrism and sings Ave, sanctum chrisma three times, each time at a higher voice than before (like the ecce lignum of Good Friday and the Alleluia of the Easter Vigil). After the third intonation, he kisses the ampulla and takes a seat. The twelve priests now perform a most intricate series of steps, almost like a dance:
  • first genuflecting to the altar;
  • then bowing to the bishop;
  • then kneeling on both knees at a distance from the chrism, singing Ave, sanctum chrisma;
  • rising, approaching closer, kneeling again and singing Ave, sanctum chrisma in a higher tone;
  • then rising again and kneeling immediately before the chrism to sing Ave, sanctum chrisma in a yet higher tone;
  • and at last, rising, kissing the ampulla, and then returning to their places.
The priests individually reverencing the ampulla with the Chrism
At last, the bishop moves to bless the Oil of the Catechumens. The deacon assigned to fetch the OC has been holding it this entire time, and now finally gets to hand it off to the archdeacon. The bishop and then the twelve priests breathe over this oil three times in the form of a cross, like before. And, like before, after the exorcism and blessing, the bishop thrice sings Ave, sanctum oleum and kisses the ampulla. The twelve priests do the same, kneeling at the three intervals like before.

At last, with the blessing of the oils complete, the bishop recharges the thurible, and the "ministers of the oils" retrieve the ampullae and form a recession back to the sacristy to deposit them, while the schola resumes singing the hymn O Redemptor. Since this is still the Mass of the Lord's Supper, though, there's still a lot left to do. The schola must now sing the Communion antiphon and the bishop must process to the altar of repose. Thankfully for anyone in the congregation getting restless, the mandatum (foot-washing) isn't done in the middle of Mass in this rite. It's performed in a ceremony outside of Mass and not even necessarily in the cathedral (the place could be, for instance, the chapter room).

The 1955 Holy Week reforms

From the Ordo Hebdomadae Sanctae Instauratus, 1955
Much has already been said about the massive reforms made for Holy Week in 1955, here on this blog and elsewhere. For this piece, I'll only mention what's relevant to the blessing of the oils. The Mass of the Lord's Supper, which had gradually come to be anticipated into the morning hours, was now decreed to be celebrated in the evening, as in the vesperal Mass of the Gelasian Sacramentary. Now, the morning of Maundy Thursday was free to propose a restoration of the old Missa Chrismalis. The Holy Week reform now created a Mass for the morning of Maundy Thursday, after Terce: the first "Chrism Mass" of modern times. A few new creations had to be made--the old Chrism Mass in the Gelasian Sacramentary began at the Offertory, so new Scripture lessons had to be chosen, and a new Introit chant, Facies unctionis, was composed.

Other items for this new ritual Chrism Mass were lifted directly from the Gelasian Sacramentary's texts, such as the collect (adapted from an opening prayer) and the Preface. The rites for blessing the oils remained the same as they were before 1955. The rubrics have the bishop still consult the old Pontifical for those prayers and ceremonies, so everything about the blessing of oils I described in the section above still applies here, between the years 1956 to 1965 at least.

Vatican II and the 1965 "interim" liturgy

From "The Roman Missal in Latin and English for Holy Week and Easter Week", 1965
The Chrism Mass drew the special attention of the Vatican II fathers for one major reason: concelebration--that is, two or more priests celebrating the same Mass together. The Council's 1963 constitution on the liturgy, Sacrosanctum Concilium, introduced the modern practice of concelebration, and named the Chrism Mass as the very first instance where it might be done:
 57. 1. Concelebration, whereby the unity of the priesthood is appropriately manifested, has remained in use to this day in the Church both in the east and in the west. For this reason it has seemed good to the Council to extend permission for concelebration to the following cases:

1.a) on the Thursday of the Lord's Supper, not only at the Mass of the Chrism, but also at the evening Mass.
As I wrote before, the old rite of the blessing of oils was the only instance in the Latin Church where multiple priests would be fully vested in alb and chasuble, except at their own priestly ordinations. Since the twelve fully vested priests "co-consecrated" the chrism by blowing over it with the bishop, and since the separate Chrism Mass was upheld as a successful example of reaching back into antiquity, the reformers likely saw the Chrism Mass as ground zero for rolling out concelebration on a wider scale.

The 1965 Missal directs the bishop to still use the ceremony for blessing the oils as given in the Tridentine Pontificale, but with the following changes:

1.) The rubrics assume that there are concelebrating priests present (who effectively take the place of the 12 vested priests from before). There isn't yet the assumption that every priest in the diocese is present, but the suggestion instead that among the concelebrants, "there should be the archpriests or deans of the regions of the diocese or at least some priests from the various regions of the diocese".

2.) The Epistle is changed. The old one (James 5:13-16) was felt to refer only to the least important of the oils, that of the Sick. The new reading, from Isaiah 61, was more relevant to the use of Chrism in anointing priests. The Gospel is also revised; the old one (Mark 6:7-13) likewise had the problem of referring only to the Oil of the Sick, while the new (Luke 4:16-22) directly refers back to Isaiah.

3.) The procession with the holy oils is simplified. It now happens after the (also-new) prayer of the faithful instead of after Communion, and all 3 oils are brought at once. The procession also includes the bread and wine. The Offertory antiphon is abolished, and the singing now begins with the hymn O Redemptor.

4.) The oils are presented to the bishop in "reverse order" of importance: Chrism, Oil of the Catechumens, and Oil of the Sick. The archdeacon now no longer calls for them to be fetched, but instead the deacon or subdeacon presenting them merely says what they are. No musical notation or suggestion of singing these words. These are all to be placed on a table in the sanctuary that can be easily viewed by the people. (It suggests that the 7 deacons and 7 subdeacons no longer stand between the oils and the congregation, obscuring the ceremonies from view.)

5.) The prayers for blessing the Oil of the Sick remain at the end of the Canon, and are the same text, but now may be done in the vernacular. All the other blessing prayers are given in the vernacular as well.

6.) For the Chrism, the bishop only breathes over it in the form of the cross once. The concelebrating priests do the same, but while remaining in their places.

7.) The rite for saluting the Chrism with Ave, sanctum chrisma is vastly simplified. The bishop bows and says "hail, holy Chrism" once. The concelebrating priests do the same afterward, remaining in their place. Then everyone else (presumably the whole congregation) does it, again remaining in their places. The practice of slowly approaching the Chrism, kneeling at 3 intervals, singing the salutation each time higher than the last, is all gone.

7.) The Oil of the Catechumens is blessed, but the rite for saluting it with Ave, sanctum oleum is totally omitted.

(There are a few other changes here and there, like a new Prayer over the Gifts and a different Communion antiphon.)

From an altar missal during the transitional Mass period

1970: The Ordinary Form

Ordinary Form Chrism Mass from the Diocese of Birmingham, 2014

The Chrism Mass as it appears in the books of 1970 is how it's currently celebrated in just about every cathedral in the Latin Rite today. The following changes should be familiar to anyone who's attended a Chrism Mass since 1970:

1.) First, that the Chrism Mass need not necessarily take place on the morning of Maundy Thursday anymore. If it's more convenient for the faithful, it can take place on another day, such as a weekday evening earlier in Holy Week.

2.) As part of the overall structural changes of the new rite, a second reading before the Gospel is added (from Revelation). The new Introit draws from this second reading, and is focused more on priesthood than oils.

3.) With the assumption now that all the priests of the diocese are present, a whole new aspect has been added: after the homily, all the priests make a "Renewal of Commitment to Priestly Service". I suspect this addition followed in the spirit of the Renewal of Baptismal Promises that was added to the Easter Vigil back in 1955.

4.) The procession of oils is further simplified--or, perhaps, it might be better said that it's not described in as much detail as before. The 7 deacons and 7 subdeacons are no longer mentioned.

5.) The mixing of the balsam into the Chrism is now optional. The alternative is for the Chrism to already be mixed before Mass.

6.) The traditional placement of the blessings (Oil of the Sick at the end of the Canon, the other two after Communion) is now optional. The alternative is to bless them all together after the homily, like most everything else. I don't have data, but I would guess most dioceses do this now because it "seems" more logical.

7.) The Preface is newly composed, and focuses entirely on priesthood without reference to the oils whatsoever.

8.) All the prayers of exorcism are gone.

9.) The order of the latter two oils are flipped so that the Chrism comes last. The prayer for the Oil of the Catechumens is new.

10.) The breathing over the Chrism is optional.

11.) There are now two options for the consecratory prayer of the Chrism. Option A is mostly the same as the traditional prayer (and still uses the portion I've quoted at the top of the piece), though no longer with its own preface dialogue.

Bishop Conley of the Diocese of Lincoln. The pre-conciliar colored veils are still in use here.


The Chrism Mass has probably exploded in popularity well beyond what any of the architects of Vatican II ever imagined. It's now a highly publicized event, more usually scheduled on an evening earlier in Holy Week to allow for a fully packed congregation. However, the original intention to restore a separate Chrism Mass back in 1955 was to bring a greater focus to the faithful on just how special the holy oils are. There has been a lot of criticism since then--with merit, in my opinion--on how the focus of the Chrism Mass was co-opted in 1970 to something else entirely. And, oddly, it's one of very few things that liturgical traditionalists and liberals can agree on. Those who carefully read my description of the most recent changes probably know what I'm about to say.

The focus of the Chrism Mass after 1970 is now not so much about the Chrism, but about priests. Yes, there was always a latent connection since Maundy Thursday celebrates the institution of the priesthood at the Last Supper. But the shift to making the Chrism Mass centered on the priesthood is deliberate, and likely goes back to Pope Paul VI himself. One priestly blogger comments approvingly in his account of the Chrism Mass as "a surprisingly successful innovation":
"What changed everything was Pope Paul VI's decision to turn the Chrism Mass into something completely new - a celebration of the priesthood. Of course, the oils are still blessed (although no longer at their traditional times during the Mass or with the full centuries-old ceremonies), but the focus of the occasion is evidently elsewhere."
"As Archbishop of Milan in the 1950s, the future Pope Paul VI had especially stressed the priestly aspect of Holy Thursday with his Ambrosian Rite clergy." 

Not everyone is so sold, though. I've heard it remarked that only Paul VI could have been so clericalist as to transform the Chrism Mass into a celebration of priestly unity. Some feel that the Chrism Mass now, as with other massive concelebrations with walls of priests huddled around the altar, actually end up doing more to segregate the priesthood from the laity as a class, than the old system with a single celebrant being marked apart only by virtue of exercising his ministry in the moment.

While it's hard to argue against the idea of all the priests getting together for one Mass during Holy Week, or renewing their promises, it's impossible to deny that the addition of these promises, the simplification of the procession with oils, the total abolition of the kneeling and saluting the Chrism, and the entirely new Preface on the priesthood which replaced the Preface of the oils from the Gelasian Sacramentary, all served to minimize the original purpose of this Mass in favor of the new one.

But whatever my reservations, the Chrism Mass as we know it remains quite popular and won't be going anywhere anytime soon. Should any diocesan liturgists out there be reading this piece, I can at least heartily recommend following the practices chosen by the Ordinariate for the Chrism Mass as we would have had it last week: retaining the act of the bishop mixing the balsam in view of the faithful, keeping the blessings at their traditional places in the liturgy rather than just after the homily, and above all, making sure to use the traditional form for consecrating the Chrism. To add to that, I see no reason why we couldn't restore some of the grandeur of the old procession, with 7 deacons and subdeacons (or "tunicled acolytes"), with the ampullae in veils brought forth by deacons in humeral veils. There's a simple video here of the Ordinariate's Chrism Mass from 2017.

At last, I do believe there was a solid impulse behind the desire to get more of the faithful to witness the blessing of the oils. So, of course, I encourage those of you who can to attend these rites, wherever they're offered!

A final aside: for those who have Netflix, I highly recommend watching the series The Crown, especially the dramatization of Queen Elizabeth II being anointed at Westminster Abbey. This was the only part of the coronation ceremony that was deemed too holy to broadcast on television in 1953. Once the Knights of the Garter brought the canopy up to conceal the Queen from view, the cameras cut off.

The final act of anointing goes, "Be thy Head anointed with holy Oil: as kings, priests, and prophets were anointed:  And as Solomon was anointed king by Zadok the priest and Nathan the prophet, so be thou anointed, blessed, and consecrated Queen over the Peoples, whom the Lord thy God hath given thee to rule and govern, in the name of the Father, and of the Son, and of the Holy Ghost. Amen."