Ultramontane
Got lost on the way home going a new way, but look what we ran into.

Got lost on the way home going a new way, but look what we ran into.

holyabundance:

"She is an echo of God, speaking and repeating only God. If you say "Mary," she says, "God." ~ St. Louis de Montfort

holyabundance:

"She is an echo of God, speaking and repeating only God. If you say "Mary," she says, "God." ~ St. Louis de Montfort

http://taylormarshall.com/2014/08/saint-helen-recommended-book.html#respond

It has been a week of interviews, skill assessment tests, family drama, no sleep, humidity and and and…

I need a place to rest.

Though the mountains be shaken and the hills be removed, yet my unfailing love for you will not be shaken, nor my covenant of peace be removed.
Isaiah 54: 10 (NIV)
Once you understand the Eucharist, you can never leave the Church. Not because the Church wont let you but because your heart wont let you.

dramoor:

True.

Can someone please guide me to some uplifting bible verses? I’m on the verge of tears.
The Musical Shape of the Liturgy, by William Mahrt, is the first full treatise that maps out — historically, theologically, musically, and practically — the musical framework of the Roman Rite in a way that can inform audiences of all types. Mahrt demonstrates that the Roman Rite is not only a ritual text of words, but is a complete liturgical experience that embeds within it a precise body of music that is absolutely integral to the rite itself. In other words, the music at Mass is not arbitrary. It is wedded to the rite as completely as the prayers, rubrics, and the liturgical calendar itself. Everything in the traditional music books has a liturgical purpose. When they are neglected, the rite is truncated; the experience is reduced in splendor. These claims will amount to a total revelation to most all Catholic musicians working today. As Mahrt points out, genuine Catholic music for Mass is bound by an ideal embodied in the chant tradition. This tradition is far more rich, varied, and artistically sophisticated that is normally supposed. It is the music that is proper to the Roman Rite. The opening section of the book provides a four-part course in the musical structure of the liturgy covering the origin, history, and liturgical purpose of the ordinary chants. The second section explores the particulars with detailed commentary on particular chants and their meaning. Further commentaries reflect on the polyphonic tradition that became part of the ritual experience of Mass in the middle ages, as well as the use of organ in Mass. The third section turns to the specifics of putting all of this into practice in the contemporary world. This section is the one that is of the highest practical value for pastors and musicians today. What is missing most from today’s Catholic world is the awareness of the the musical shape of the liturgy - that essential structure of what is supposed to take place in the Roman Ritual itself.

The Musical Shape of the Liturgy, by William Mahrt, is the first full treatise that maps out — historically, theologically, musically, and practically — the musical framework of the Roman Rite in a way that can inform audiences of all types. Mahrt demonstrates that the Roman Rite is not only a ritual text of words, but is a complete liturgical experience that embeds within it a precise body of music that is absolutely integral to the rite itself. In other words, the music at Mass is not arbitrary. It is wedded to the rite as completely as the prayers, rubrics, and the liturgical calendar itself. Everything in the traditional music books has a liturgical purpose. When they are neglected, the rite is truncated; the experience is reduced in splendor. These claims will amount to a total revelation to most all Catholic musicians working today. As Mahrt points out, genuine Catholic music for Mass is bound by an ideal embodied in the chant tradition. This tradition is far more rich, varied, and artistically sophisticated that is normally supposed. It is the music that is proper to the Roman Rite. The opening section of the book provides a four-part course in the musical structure of the liturgy covering the origin, history, and liturgical purpose of the ordinary chants. The second section explores the particulars with detailed commentary on particular chants and their meaning. Further commentaries reflect on the polyphonic tradition that became part of the ritual experience of Mass in the middle ages, as well as the use of organ in Mass. The third section turns to the specifics of putting all of this into practice in the contemporary world. This section is the one that is of the highest practical value for pastors and musicians today. What is missing most from today’s Catholic world is the awareness of the the musical shape of the liturgy - that essential structure of what is supposed to take place in the Roman Ritual itself.

tiny-librarian:

Painting of Julia, the only biological child of Augustus, in exile by Pavel Svedomsky.

tiny-librarian:

Painting of Julia, the only biological child of Augustus, in exile by Pavel Svedomsky.

acatholicrose:

St Augustine and St Monica

acatholicrose:

St Augustine and St Monica

by-grace-of-god:

The Unburnt Bush - by Deacon Lawrence Klimecki
"Mary is the holy ground where God is present, she is not consumed by the fire of the divine that has come to dwell within her. The white roses of the bush represent Mary’s purity and perpetual virginity. The angels refer to the angel of the annunciation as well as the angel that spoke to Moses from the burning bush."

by-grace-of-god:

The Unburnt Bush - by Deacon Lawrence Klimecki

"Mary is the holy ground where God is present, she is not consumed by the fire of the divine that has come to dwell within her. The white roses of the bush represent Mary’s purity and perpetual virginity. The angels refer to the angel of the annunciation as well as the angel that spoke to Moses from the burning bush."