The Spirituality of the Tridentine Mass page at the Sancta Missa site has a link to an Adobe .pdf file of Dom Prosper Guéranger's Explanation of the Prayers and Ceremonies of Holy Mass. It is copyrighted by Biretta Books, Ltd. Chicago, so I will not post it. The .pdf is capable of 'swipe-copy-and-paste' (at least using Adobe's Linux version of their reader).

I excerpt parts of the Explanation of the Prayers and Ceremonies of Holy Mass below the break, specifically on the Collect, since that excerpt may aid in understanding Prof Lauren Pristas' discussions of the changes in the Collects between the 1962 and 1969/1970 Missals. See these earlier posts here:

• Comparing the First Sunday of Advent's collects in the 1962 and 1969 Missals,
• Three articles by Lauren Pristas, on the 'net, and
• '[C]andid academic research is destroying the myth that Catholics who favor traditional liturgy [are] simply neurotic nostalgics'.

Also excerpted is the section on the Offertory, which excerpt, because of the depth and richness of this part of the Mass, expresses profoundly the Holy Sacrifice being offered to God the Father. There is side-by-side comparison of the offertory prayers in the two Missals here in Latin and English. Cf. review of The Holy Sacrifice of the Mass. A Search for an Acceptable Notion of Sacrifice, by Kenneth Baker, S.J., from Homiletic and Pastoral Review and Original thoughts on sacrifice, at Fr Tim Finigan's blog.

While today is the Eighteenth Sunday after Pentecost, September 30 in other years is the feast of St Jerome. The post from 2005 is here.

Images of The Funeral of St Jerome and the fresco The Doctors of the Church (detail of St Jerome) from the Upper Church, San Francesco, Assisi, destroyed in the 1997 earthquake below the break.

Thanks to Francisco Romero-Carrasquillo, who blogs at Ite ad Thomam, for his post Online "Sources of Catholic Dogma" in English!.

Denzinger's work is at Sources of Catholic Dogma.

From the Angelus Press description (referring to the 1957 edition which they publish and sell):

The collection includes all articles and creeds of the Catholic Faith beginning with that of the twelve apostles, all dogmatic definitions stamped with the Petrine authority of the Apostolic See (ex cathedra), decrees of the solemn Magisterium, papal bulls, encyclicals and letters, as well as some of the more weighty decisions of the Holy Office prior to 1957. Although not every entry in this 653 page compendium of Church teaching is definitional (i.e., ex cathedra), it still should be considered the final word on doctrinal questions, especially in these times of ecclesiastical anarchy.

I'm not sure which edition it is that is on the Catechetics Online site.

Joanne Riccoboni, 43, of Brewster attends the Mass regularly with her husband, Gene, and their four children. . . . "I had been away from Mass for a long time, and it brought me back. I just felt at home again."

Source: Solemn Joy; Traditional Latin Mass community celebrates pope's decree.

Nostalgia: a wistful desire to return in thought or in fact . . . to one's home or homeland, or to one's family and friends.

Why should we surrender these terms (I think particularly of 'nostalgia' and 'you can't turn back the clock') to the cynics and materialists contemptuous of beauty, who seek to make us orphans and homeless by separating us from the generations of other believers through the ages.

Deacon John's blog Mary, Our Mother has Dom Guéranger's commentary on today's feast at Our Lady of Ransom, and I've included it in this post, below the break.

Today is the Feast of Our Lady of Ransom, commemorating the foundation of the Mercedarians. The post from 2005 is here, and it has Lessons iv v and vi for this feast. Below the break are image of Spanish postage stamps commemorating Our Lady of Ransom, the feastday, the two great Saints of the Mercedarians, and the coat of arms of the Military and Religious Order of Our Lady of Ransom.

Poking around for some images of Pope St Gregory the Great and chant, I found one on the blog Blog by-the-Sea, since it has categories (quite a few categories, actually) on art, architecture, Church history (e.g., 'Dark Ages', High & Late Middle Ages), Gregorian chant, and links to a number of blogs which I read as well (Musings of a Pertinacious Papist, Tea at Trianon and some others).

Take these video tours linked to:

• Monastery of St. Benedict, Subiaco,
• French Churches Built in the 11th and 12th Centuries (Saint Pierre de Moissac of the Cluniac monks, Vézelay, Lavaudieu and Saint-Julien, Chartres, and Paray-le-Monial).

From an earlier post on Dom Johner's Chants of the Vatican Gradual, available as a .pdf file here, quoting Dom Johner in the Foreword by the translators:

The present work is intended chiefly to serve as an aid to the prayerful rendition of the variable chanted parts of the Mass. At the same time it aims to be a guide for the worthy and artistic rendition of those chants which have been handed down to us from an age of strong faith and noble taste.

And Dom Johner says this about his work:

Choral music, or chant, is here considered not as a mere historic relic of the past, nor is worthy rendition to be understood in the sense of an elaborate concert interpretation of these monodic church compositions of the Middle Ages. Chant is more than this. It is an integral part of the liturgy, as much alive and inspiring today as ever. It is the praise of the living God by his people in union with Christ. Anyone, therefore, wishing to render chant properly must participate in the Christ-life of the Church, must seek spiritual nourishment at the heart of the liturgy, which is the Eucharistic Sacrifice. He must desire, as Christ did, to honor the Father with due reverence. These few thoughts have formed the guiding principles of the present work.

I continue below the break with his commentary on today's chanted propers. It is edifying to use these meditations in listening to the chants which are available on the 'net (here and here).

From the old catholichaven.org site, here is Dom Guéranger's commentary on today's Mass, below the break. The catholichaven.org site is no longer available, so I'm putting here all of what I saved, below the break. Today's Introit, Gradual, Alleluia, Offertory and Communion in mp3 format, chanted, can be downloaded or listened to at Dominica XVII. post Pentecosten.

The Summorum Pontificum podcast has the propers as well in mp3 format:

• Dominica XVII post Pentecosten - Intr.: Iustus est, Domine,
• Dominica XVII post Pentecosten - Grad: Beata gens,
• Dominica XVII post Pentecosten - All.: Domine, exaudi orationem meam,
• Dominica XVII post Pentecosten - Com.: Vovete, et reddite,
• Dominica XVII post Pentecosten - Off.: Oravi Deum meum.

The main page for the Summorum Pontificum podcast blog has been down for a couple of days, so I am linking to the page with the podcasted propers.

The post from 2005 is here, with breviary lessons, and images of an engraving, Caffa's sculpture showing acts of charity for which the saint was known, and of his death and entry into Heaven. St Thomas of Villanova lived during the Council of Trent, but never attended its sessions.

Blogger Matthew has the post: St. Matthew, Apostle and Evangelist.

The post from 2005 is here, with depictions of the apostle, evangelist and martyr by Terbrugg and Caravaggio, and Lessons iv v and vi for this saint.

A black hole ate the Mass! No, it's the second advent of the asteroid . . . deep impact!

Fr Zuhlsdorf uses the expression 'gravitational pull' for describing how the 1962 and 1970 forms of the Mass could influence each other, and his post Summorum Pontificum does not create an ecclesiastical Jurassic Park (a metaphor I find repugnant) advocates permitting Communion in the hand at 1962 Missal Masses. His thinking is, inter alia, that it is the right of the laity to so receive and that the liturgical books in force in 1962 being silent on this point, Communion in the hand must be permitted. A vigorous discussion follows in the comments.

This is a consequence of the 'one Roman Rite, two forms (or uses)' notion or approach of Summorum Pontificum and of the accompanying Letter to Bishops.

Hmmm, if the 1962 books do not prohibit Communion in the hand, standing to receive Communion, lay distribution of Communion, Communion in both kinds, female altar boys, lay readers of the Epistle, Gospel (and Prophecies when used), and Mass facing the people, it follows . . .

Images below the break.

Fr Loren Gonzales has a post up at his blog Overheard in the Sacristy with St Francis de Sales's meditations on the Traditional Latin Mass, The Passion, Death, and Resurrection of D.N.J.C. revealed before our eyes at the Traditonal Latin Mass. Reading them, I thought of Carole Z. Brennan's Gone the Sanctus Bells, written about when the Mass changed, and to which I linked in the post Sanctus Bells here. She goes through meanings for each part of the Mass, and expresses her reactions to the 'Englishing' and loss of symbolism of the Mass.

From the comment on her article:

Protestants think that Catholics must be jumping up and down with joy now that the Mass has been Englished. But many Catholics know, in profound symbolic ways, that with new changes in worship something old and precious also changes, and perhaps dies.

The post on this saint, from 2005, is here: September 20, St Eustace and Companions, Martyrs, and that post has some Lessons and images.

Take a look below the break for some images from the Basilica of St Denis. They are from Mary Ann Sullivan's Digital Imaging Project at Bluffton University. Drawn in, you will spend hours in feast at this site. Also below the break are Albrecht Dürer's St Eustache and the painting in Canterbury Cathedral.

The Legend of St Eustace, the painting in Canterbury Cathedral, inspired Russell Hoban to start the novel Riddley Walker, a post-nuclear war novel with similarities to Walter M. Miller, Jr's A Canticle for Leibowitz.

The post on this saint, from 2005, is here: September 19, St Januarius, Bishop, and Companions, Martyrs, which has some Lessons and images. Pay a visit to New York City's 80th Annual Feast of San Gennaro site, and note the live radio broadcasts. And to think that I saw it on Mulberry Street.

The How Strong is your Faith? page has some images of the regular liquefaction of the blood of St Januarius, about halfway down the page.

See The San Gennaro Festival, New York City, by Matthew at the Shrine of the Holy Whapping:

It's the sort of crazy, shiny, brightly-colored turn-your-brain-off fun that has a certain garish, wholesome simplicity to it in small doses, seasoned with a touch of the appealingly grotesque and, in the end, sanctified by the bright polychrome image of St. Januarius himself, the guardian of all that is popular and populist within the Catholic soul.

In Can computers really read manuscripts?, Roland Piquepaille reports on what could be a helpful technique to deciphering what is in the digitized images from St Catherine's monastery (see the post here Podcasting the preservation and conservation of the Christian world's oldest library).

A research team from the Universitat Autònoma de Barcelona tested a 'Blurred Shape Model' technique of computerized manuscript reading:

Researchers decided to test the efficiency of the system by experimenting with two application areas. They created a database of musical notes and a database of architectural symbols. The first was created from a collection of modern and ancient musical scores (from the 18th and 19th centuries) from the archives of the Barcelona Seminary, which included a total of 2,128 examples of three types of musical notes drawn by 24 different people. The second database included 2,762 examples of handwritten architectural symbols belonging to 14 different groups. Each group contained approximately 200 types of symbols drawn by 13 different people.

In order to compare the performance and reliability of the BSM, the same data was introduced into other similar systems. The BSM was capable of recognising musical notes with an exactness of over 98% and architectural symbols with an exactness of 90%.

Source: the poorly titled Computerized treatment of manuscripts.

I've had these items noted for . . . a while now. Back in October, 2006, Roland Piquepaille posted The nanoscience of art restoration, pointing to an nanowerk article Nanotechnology saves Renaissance masterpieces, Mayan wallpaintings, and old shipwrecks. November 3 and 4, 2006, was the fortieth anniversary of the devastating flood of Florence, Italy.

On the nanotechnology: the Center for Colloid and Surface Science (CSGI) research group at the University of Florence investigates and applies techniques for preventing and reversing cultural degradation.

Several conservation workshops have been carried out with CSGI scientific consultancy, and using innovative methodologies developed in the CSGI Laboratories (Masaccio's wall paintings in Cappella Brancacci, and Beato Angelico's wall paintings in San Marco Abbey, in Florence, Piero della Francesca's wall paintings in Arezzo, etc.

The wall paintings by Fra Angelico are frescoes, paintings where applying pigments binds them to the underlying wet or dry plaster. The location is also referred to as the Convent of San Marco.

  
Images showing detail of Christ on the Cross Adored by St Dominic,
Fra Angelico, fresco, Convent of San Marco, before and after restoration


Christ on the Cross Adored by St Dominic,
Fra Angelico, San Marco, Florence, restored

Convent of San Marco, Fra Angelico Crucifixion, fresco, before and after

Ammonium carbonate plus barium hydroxide was applied using the Ferroni-Dini method on these frescoes.

As to the nanotechnology, from the nanowerk article linked to above:

The so-called Ferroni–Dini method (two steps: the application of a saturated solution of ammonium carbonate, (NH₄)₂CO₃, and the treatment with a barium hydroxide solution, Ba(OH)₂), also called the 'barium' method, has long been the acknowledged method for the removal of salts that threaten paintings, reinforcing at the same time the porous structure. However, commercially available carbonates and hydroxide powders have dimensions of several micrometres, much larger than the pores on the paint surface. This means they don’t penetrate the painting well and there is also a risk of damaging the artwork by a white glaze forming on the surface.

Nanoparticle treatment is the logical evolution of the Ferroni-Dini method. Dispersions of kinetically stable Ca(OH)₂ nanoparticles in non-aqueous solvents solved most of the drawbacks of the microsized powders. Stable dispersions of calcium hydroxide have been successfully applied (replacing polymers) as fixatives to re-adhere lifted paint layers during many restoration workshops in Italy and in Europe, and as a consolidant. Baglioni's group was among the first to synthesize nanoparticles in non-aqueous solvents with the optimal properties for application to cultural heritage conservation.

Enzo Ferroni, who died on April 9, 2007 (obituary here), pioneered methods, with the fresco conservator Dino Dini (he died on April 9, 1987), of restoration of frescoes by chemically removing the hydrated sulphate of calcium, which causes loss of color and cohesion of the paint to the underlying material. A soft mass of ammonium carbonate and then a treatment with barium hydroxide is applied. The 1966 flood of Florence spurred development of this technique :

[T]here was an estimated 600,000 tons of mud, sewage and rubble smothering a city that had been both a huge modern centre and a treasure house of great art. . . .

When the muddy waters entered the Piazza del Duomo, they tore Ghiberti’s bronze and gold Doors of Paradise from their hinges, knocking off five panels of the original ten; today, the restored doors have been moved into the Duomo Museum and replaced by replicas. A wooden Magdalene by Donatello was later found with half her body covered in black oil. Perhaps the greatest artistic loss was the 13th-century painted wooden Crucifix by Giovanni Cimabue, which had been in the church of Santa Croce – it was so badly damaged that, today, it has become a symbol of the tragedy.

In the Biblioteca Nazionale Centrale alone, the flood damaged about one million books, including hundreds of thousands of old and rare tomes.

The Mud Angels Reunion site has a number of photo galleries with images from November, 1966, and afterwards, as well as a series of slide shows using Flash, accessed by mouse clicking on the image of the partially buried Volkswagen in the left side column.

Via ResourceShelf's posting A Rose Is a Rózsa Is a 薔薇: Image-search Tool Speaks Hundreds of Languages:

Search engines such as Google look for images by detecting the search term in captions and other nearby text. But since the process looks for a string of letters, the results are limited to the seeker’s mother tongue. . . .

[PanImages] automatically translates the search term into about 300 other languages, suggests a few that might work and then displays images from Google and the online photo database Flickr.

PanImages home page. It's still learning words. If you type in a word, say in English, for which there is no translated word, i.e., 'not in the PanImages database, you will be asked 'Do you want to add this word? 'YES' 'NO' and identify the language being translated and language being translated into. Having used the search function a few times, it doesn't handle multiple word queries (such as phrases) very well: searching 'Basilica St Joseph Cupertino' (without quotes) or 'Basilica San Giuseppe Cupertino' results in 'PanImages cannot find . . .' The connecting a word in one language with a word in another was done

by scanning more than 350 machine-readable online dictionaries. Some of these were "wiktionaries," online multilingual dictionaries written by volunteers. The PanImages software scans these dictionaries and uses an algorithm to check the accuracy of the results. It then assembles the results in a matrix that allows translation in combinations that may never have been attempted — for instance, from Gujarati to Lithuanian.

Having only stumbled upon the The Baltimore Ceremonial at the Internet Archive, I searched on 'ceremonial' there, and found The order and ceremonial of the ... sacrifice of the Mass, explained in a dialogue between a ... (1848), by Frederick Oakeley, who followed Newman into the Church in 1845, and who translated the popular hymn Adeste Fideles into English.

Below the break is a (somewhat) randomly chosen page, explaining why the term 'Immaculate Host' is applied to the material of the Sacrifice before Consecration.

What a shame that this Internet Archive entry has no keywords: Ceremonial for the use of the Catholic churches in the United States of America (Fifth Edition, 1893 or 1894, approved by James Card. Gibbons).

• Part I. Ceremonies of Low Mass, Missa Cantata, Vespers and Benediction.
• Part II. Ceremonies for Holy Week and Other Festivals.
• Part III. Ceremonies of High Mass, Solemn Vespers and Solemn Benediction.
• Part IV. Ceremonies for the Principal Festivals.
• Part V. Ceremonies for Mass and Vespers, Solemnly Celebrated by the Bishop, or in His Presence.
• Part VI. Other Different Solemnities at which the Bishop Officiates or Is Present.

M. J. Ernst-Sandoval mentioned the Ceremonial as an aid to celebrating Mass, in his blog post at Salve festa dies!.

Today is the feast of the Holy Stigmata of St Francis, or the Marking of the Body of St Francis with the Marks of the Lord Jesus. From breviary.net, here are Lessons iv v and vi for this feast. The event has been the subject of much visual art since the thirteenth century, and I have chosen some images to accompany the Lessons.

Here is Dom Guéranger on the stigmata:

The Feast of the Stigmata of Saint Francis, whom we will soon honor again on his feast of October 4th, is not only to glorify a Saint; it commemorates and signifies something which goes beyond the life of any single man, even one of the greatest of the Church. The God-Man never ceases to live on in His Church, and the reproduction of His own mysteries in this Spouse whom He wants to be similar to Himself, is the explanation of history.

In the thirteenth century it seemed that charity, whose divine precept many no longer heeded, concentrated in a few souls the fires which had once sufficed to inflame multitudes. Sanctity shone as brilliantly as ever, but the hour for the cooling of the brazier had struck for the peoples. The Church itself says so today in its liturgy, at the Collect: ‘Lord Jesus Christ, when the world was growing cold, You reproduced the sacred marks of Your passion in the body of the most blessed Francis, in order that Your love might also set our hearts afire.’ The Spouse of Christ had already begun to experience the long series of social defections among the nations, with their denials, treasons, derision, slaps, spittings in the very praetorium, all of which conclude in the legalized separation of society from its Author. The era of the Passion is advanced; the exaltation of the Holy Cross, which for centuries was triumphant in the eyes of the nations, acquires in the sight of heaven, as the Angels look down upon it, the aspect of an ever closer resemblance with the Spouse to the sufferings of her crucified Beloved.

Saint Francis, loved today by all who know of him — and few there are who do not — was like precious marble placed before an expert sculptor. The Holy Spirit chose the flesh of the seraph of Assisi to express His divine thought, thus manifesting to the world the very specific direction He intends to give to souls thereafter. This stigmatization offers a first example, a complete image, of the new labor the divine Spirit is meditating — total union, on the very Cross of Christ itself, of the mystical Body with the divine Head. Francis is the one honored by this primacy of choice; but after him the sacred sign will be received by others, who also personify the Church. From this time on, the Stigmata of the Lord Jesus will be at all times visible, here and there on this earth.

St. Francis receiving the stigmata.

Monthly audio file downloads from the Latinum blog and podcast site:

• 29 file downloads in March, 2007,
• 5737 file downloads in April,
• 7409 file downloads in May,
• 25 450 file downloads in June,
• 47 432 file downloads in July, and
• 98 110 downloads in August.

Via Lots of people are listening to Latin on the ARLT (Association foR Latin Teaching) blog.

The British Library makes available a number of podcasts, both audio and video, and one I found very interesting is the audio of a presentation by Prof Nicholas Pickwoad, who is the project leader of The Camberwell / St. Catherine’s Library Conservation Project. Prof Pickwoad's entire talk can be downloaded directly here (mp3, 50min, 20MB). Or, you can download a five minute extract here.

The monastery is on the lower slope of Mount Sinai. St Catherine’s Library has been renovated, stainless steel boxes for storing books made, manuscripts and printed books digitized. The Monastery holds the copyright to the images.

The monastery’s library is most ancient in the Christian world and is considered second only to the Vatican’s library in terms of both the quantity and value of the collection. It contains more than 3,000 manuscripts in many different languages, more than 5,000 early printed books, and more than 2,000 icons representing almost every school of Byzantine iconography from the 6th to the 18th century. The Codex Sinaiticus, the oldest complete Bible in existence, was once held there; most of it eventually made its way to England, but a few pages remain. . . .

In 2001, the Camberwell College of Arts in London, with support from the St. Catherine Foundation, began a conservation-preservation project for St. Catherine’s library. The first phase of the project, a condition survey of the library’s 3,307 bound manuscripts that will facilitate future preservation work, was completed in March 2006. In collaboration with the project, Father Justin, who was elected the monastery’s librarian in 2005, has been digitally photographing manuscripts in the collection, and these will one day be available online. Funding is needed for reconstruction of the library itself, which requires major improvements.

Source: Mount Sinai and the Monastery of St. Catherine.

Prof Pickwoad's talk is entertaining, informative and inspiring.

Two images of the monastery, which celebrated 17 centuries of uninterrupted asceticism in 2001 is below the break. One of the interesting items in the monastery's possession is 'a Charles VI era chalice whose rarity centres around the fact that it was one of the precious few royal relics to survive the ravages of the French Revolution.'

This is too much.

At Queen of Peace Parish in Patton, Pennsylvania, Altoona-Johnstown Diocese, there will be a Sunday 5:00 p.m. TLM.

The parish was formed by the merger of St George and Our Lady of Perpetual Help parishes.

Retired Milwaukee Archbishop Rembert Weakland grew up in Patton, Pennsylvania and graduated from Our Lady of Perpetual Help parochial school in Patton.

Wait, there's more!

The pastor of Queen of Peace is Rev Ananias Buccicone, OSB.

10 Now there was a certain disciple at Damascus, named Ananias. And the Lord said to him in a vision: Ananias. And he said: Behold I am here, Lord.

11 And the Lord said to him: Arise, and go into the street that is called Stait, and seek in the house of Judas, one named Saul of Tarsus. For behold he prayeth.

12 (And he saw a man named Ananias coming in, and putting his hands upon him, that he might receive his sight.)

13 But Ananias answered: Lord, I have heard by many of this man, how much evil he hath done to thy saints in Jerusalem.

14 And here he hath authority from the chief priests to bind all that invoke thy name.

15 And the Lord said to him: Go thy way; for this man is to me a vessel of election, to carry my name before the Gentiles, and kings, and the children of Israel.

16 For I will shew him how great things he must suffer for my name's sake.

17 And Ananias went his way, and entered into the house. And laying his hands upon him, he said: Brother Saul, the Lord Jesus hath sent me, he that appeared to thee in the way as thou camest; that thou mayest receive thy sight, and be filled with the Holy Ghost.

18 And immediately there fell from his eyes as it were scales, and he received his sight; and rising up, he was baptized.

Acts 9:10-18, Douay edition.

Update: Teófilo was at the private TLM today and posted on his blog about it: Mass attendance.

EWTN now has a RealPlayer format stream of the September 14, 2007 Mass from the Shrine of the Most Blessed Sacrament in Hanceville, Alabama. There is a link on the Streaming Audio and Video page. The direct link is Full Video of the Solemn High Mass Extraordinary Form Of The Roman Rite (2hrs) Real Video. My 'net connection is a bit flaky at the moment, and the stream keeps halting to buffer, so gxine, while rendering it better than xine, stops and starts.

From an earlier post on Dom Johner's Chants of the Vatican Gradual, available as a .pdf file here, quoting Dom Johner in the Foreword by the translators:

The present work is intended chiefly to serve as an aid to the prayerful rendition of the variable chanted parts of the Mass. At the same time it aims to be a guide for the worthy and artistic rendition of those chants which have been handed down to us from an age of strong faith and noble taste.

And Dom Johner says this about his work:

Choral music, or chant, is here considered not as a mere historic relic of the past, nor is worthy rendition to be understood in the sense of an elaborate concert interpretation of these monodic church compositions of the Middle Ages. Chant is more than this. It is an integral part of the liturgy, as much alive and inspiring today as ever. It is the praise of the living God by his people in union with Christ. Anyone, therefore, wishing to render chant properly must participate in the Christ-life of the Church, must seek spiritual nourishment at the heart of the liturgy, which is the Eucharistic Sacrifice. He must desire, as Christ did, to honor the Father with due reverence. These few thoughts have formed the guiding principles of the present work.

I continue below the break with his commentary on today's chanted propers. It is edifying to use these meditations in listening to the chants which are available on the 'net.

The post from 2005 is here. I only posted part of Dom Guéranger's commentary from the old catholichaven site. That site is no longer available, so I'm putting here all of what I saved, below the break.

Today's Introit, Gradual, Alleluia, Offertory and Communion in mp3 format, chanted, can be downloaded or listened to at Dominica XVI. post Pentecosten.

• Dominica XVI post Pentecosten - Intr.: Miserere mihi, Domine,
• Dominica XVI post Pentecosten - All.: Cantate Domino canticum novum,
• Dominica XVI post Pentecosten - Grad: Timebunt gentes nomen tuum,
• Dominica XVI post Pentecosten - Off.: Domine, in auxílium meum respice,
• Dominica XVI post Pentecosten - Com.: Domine, memorabor.

Fr Z's blog post Celebration of Extraordinary Mass in Raleigh, NC [sic] and Vir Speluncae Catholicus's How I Spent My Feast Of The Exaltation Of The Cross Vacation So THAT'S what the insid... have images of the clergy and sanctuary, respectively.

We thin on the ground Catholics, and thinner on the ground trads, may be getting TLMs at two Wake County locations, one at a Raleigh parish, one at a southern Wake County parish.

Music at the Mass was Mozart's Mass in C Major by Michael Wimberly, parish organist and choirmaster, and Roger Petrich and the Chapel Hill Friends of Mozart.

One of today's clips from Vatican Radio is on the motu proprio Summorum Pontificum. The mp3 audio file contains very brief interviews with Mgr Mark Langham, Administrator of Westminster Cathedral, London, who blogs at Solomon, I Have Surpassed Thee, and who posts some images of the Cathedral's relics of the True Cross at The Exultation of the Holy Cross, and a very brief interview with John Newton, editor of Baronius Press.

The mp3 file usually is only available for a few days, so I have uploaded it to this blog, and make it available for download here.

Vatican Radio's English language pages include those listing RSS and Podcast feeds and direct downloads of the mp3 files.

The Summorum Pontificum podcast blog has them, in mp3 audio file format:

• in Exaltatione Sanctae Crucis - Intr.: Nos autem,
• in Exaltatione Sanctae Crucis - Grad.: Christus factus est pro nobis,
• in Exaltatione Sanctae Crucis - All.: Dulce lignum,
• In Exaltatione Sanctae Crucis - Off.: Protege, Domine, and
• In Exaltatione Sanctae Crucis - Comm.: Per signum Crucis.

While most folks reading this likely run MS-Windows or one of the Apple operating systems, my home desktop is Debian Linux (testing/lenny). In recent years, playing streaming audio and video on Linux has become much better.

I don't have a television set, so I had planned on getting my laptop (dual boot MS-Windows XP and Ubuntu Linux) to a local wifi hotspot to watch the FSSP's Mass Friday morning, but just now tried viewing the EWTN live video feed on my desktop, and using the Totem movie player program, I successfully watched the live feed.

The live feed URL is available via the EWTN home page by positioning your mouse cursor over the 'Television' box in the navigation bar on the home page.

A drop down menu appears, and if you move your cursor over 'Live TV - English', another menu appears.

Move your cursor over 'Windows Media' and then to the speed of your internet connection. Do not left mouse button click, but instead right mouse button click and select 'Copy Link Location'. This will copy the URL for the live television feed.

Open Totem and select Movie --> Open location, and paste the URL which you copied, into the dialog box. Click on 'Open' and wait for the URL to load. The video and audio should play.

Here's a screenshot showing the open Totem window with the EWTN live video feed.

Live EWTN video feed
inside the Linux Totem player.

That's my fvwm2 desktop behind, based on Troy's "White Magic Desktop".