Get over to WFMU's Beware of the Blog post 365 Days #300 - Arch Oboler - Drop Dead! (mp3s), grab the mp3s transferred from Arch Oboler's Drop Dead! long playing album, turn out the lights and enjoy. A favorite from my childhood.

On October 31, 1992, the first public demo of sunsite.unc.edu (now ibiblio.org) was given at Educom in Baltimore. Bob Young, founder of Lulu.com, Lulu.tv and Red Hat, gave a talk yesterday, October 30, 2007, and you can download it from this page in an mp3 format audio file. (No .ogg format, the fellow recording it filled his / and corrupted the original.)

sunsite, Metalab and ibiblio are well known to early, pre-Web, 'net adopters, and the organization has an history page guaranteed to stir up nostalgia. Learn how to [Join] the Global IP Internet, with easy to follow step-by-step instructions!

Seventy years ago yesterday, October 30, 20 or 25 miles from where I grew up, the Martians landed and began their conquest of Earth. The story most people hear is that Orson Welles broadcast an episode of Mercury Theatre On The Air, adapting H. G. Wells's The War of the Worlds, where the landing is in Grover's Mill, New Jersey, U.S.A., east of Princeton and south of New Brunswick. But, that's what they want us to believe.

Download Mr Welles's show here (mp3 format audio file).

Don't believe me? Then, why does the government of West Windsor, New Jersey, in which Grover's Mill is located, have the ominously titled links to 'Request for Government Records' and to 'Master Plan' on its War of the Worlds page?

Image of the monument in Grover's Mill to those who fell defending Earth, below the break.

In a comment to the post Duruflé's Requiem for All Souls' Day and searching for mp3 format audio files, paul pointed to mp3 files available from St Clement's Church in Philadelphia, Pennsylvania, U.S.A. St Clement's 'is a historic Anglo-Catholic parish in Center City, Philadelphia, a parish of the Episcopal Diocese of Pennsylvania, and a part of the global Anglican Communion.'

There are two music RSS feeds available from St Clement's:

• Saint Clement's Church: Music Highlights, and
• Saint Clement's Church: High Mass.

Clicking on those two links opens up a page listing the available mp3 format audio files. St Clement's podcasts page mistakenly limits visitors to using iTunes to grab the mp3s, by using the 'itpc' protocol in the URIs on the page. Simply subsituting http for itpc allows one to use that URI to grab the files without using iTunes.

The podcasts are free. Thank you, paul, and thank you, Saint Clement's.

Before non-academic, non-military and non-governmental folks were allowed access to the Internet, there were BBSes (Bulletin board systems), and most BBSes had message boards discussing various topics. Fidonet, RIME and ILink were widespread echomail conferencing networks. Echomail allowed 'post[ing] a message on one BBS, and that BBS system [would] automatically export your message to other . . . systems all over the world'.

Terrye Newkirk, whom I believe is now a secular Carmelite in Oklahoma and who used to run the anchoress.com site, had an interview (from 1997?) with Catholic Information Network's Sharon Mollerus at Ten Years of Online Faith which has some interesting tidbits of history and reminiscences from that time.

Over at the New Liturgical Movement blog, Fr. Augustine Thompson O.P., has a post Dominican Rite Requiem for All Souls in Portland OR, mentioning that '[t]he Mass will a missa cantata (not a solemn Mass) with the Durufle Requiem and Dominican chant propers.'

Google has an option in its search bar to filter results by filetype, but audio files such as mp3s aren't included in the filetype list. alltheweb is another search engine which conveniently allows you to limit your search to mp3 format audio files. Using alltheweb, I located these mp3s of the Introit and Kyrie of the Requiem from the site of VU-Kamerkoor (links are to the files on their site, not here):

• Duruflé, Introit,
• Duruflé, Kyrie.

There's also a Deutsche Gramophon recording of the orchestral version at Fauré / Duruflé: Requiem, which requires you to install the Rhapsody player plugin (available for Linux, Mac and MS-Windows).

Lastly, the free classical music site classic cat has mp3s at their Maurice Duruflé, opus 9, Requiem page:

• Introit and In Paradisum,
• Sanctus,
• Introit,
• Pie Jesu.

I've put some sleeve notes about the Requiem below the break.

Wikipedia has an entry for the Requiem, pointing out that the Gradual and Tract are omitted, as well as the Dies Irae Sequence.

Jeffrey Tucker's post Images for Liturgical Use points to a set of 221 such images, including many, many line art files on flickr.

Fr Tim Finigan, in his post LMS Mass in St Peters reports that the Latin Mass Society's TLM in St Peter's Basilica will no longer be in the crypt or grotto Chapel of Our Lady - Queen of the Hungarians, but beginning Friday, November 23, 2007, in the Chapel of St Michael. Father says that the chapel is in the nave, but it looks as if it is more accurate to say that the chapel is in the apse. From St Peter's Basilica.org's description of the chapel, there are two altars, one to the Archangel, the other St Petronilla, the legendary daughter of St Peter:

Continuing, we enter the Chapel of St. Michael at the end of the left [sic?] aisle. The vault is decorated with the Gloria of the Saints. In the spandrels of the dome the Doctors and Fathers of the Greek and Latin Churches are portrayed: St. Leo the Great, St. Bernard of Clairvaux, St. Denys the Areopagite, St. Gregory the Wonderworker. In the lunettes: Elias and the angel, Tobias and the Archangel Raphael, St. Peter baptizing St. Petronilla, St. Nicodemus giving communion to St. Petronilla.

The altar on the right is dedicated to St. Michael Archangel. The great altarpiece in a gilded bronze frame, is a 1757 mosaic reproduction of a painting of St. Michael by Guido Reni (1575-1642), a famous artist of the Bologna School.

The altar at the back is dedicated to St. Petronilla. On it can be admired a scene of the Burial of St. Petronilla, who is received into heaven by the heavenly Bridegroom, one of the loveliest mosaics in the basilica. It is by Pier Paolo Cristofari after a painting by Giovanni Francesco Barbieri, known as Il Guercino (1590-1666). Under this altar are the relics of St. Petronilla, whose body, buried in the cemetery of Domitilla, was exhumed in 750 and venerated in a small shrine which Pepin le Bref had requested from the Pope and was therefore known as the "Rotunda of St. Petronilla".

When the saint's body was translated to St. Peter's basilica in 1606, it was this little chapel that became the national Church of France. Here, on May 31, the French community gathers solemnly to venerate the saint.

Source: The Passage from Right Transept to Apse.

Images of the Hungarian Chapel, the Altar of St. Michael the Archangel with the mosaic copy of Reni's St Michael subduing Satan, of a floorplan of the nave, transepts and apse of St Peter's Basilica, and a link to an interactive floorplan, are below the break.

Quite a choice: celebrating the TLM at an altar dedicated to the sainted daughter of St Peter, Prince of the Apostles, or at an altar dedicated to the Archangel to whom we pray 'cast into Hell, Satan and all the evil spirits who prowl about the world seeking the ruin of souls.'

Nearly all of us will have heard the story of how Bl John XXIII called the Second Vatican Council 'to throw open the windows of the Church in order to let in fresh air.' (I don't know that phrase's source. A quick search for the source didn't reveal it.)

Now some doors are being unlocked, and fresh air is entering after twenty years.

The Augustinians, who have the care of the papal sacristy, will have a big task in the next few days: after twenty years during which any sort of traditional vestment was forbidden, many rooms will be unlocked, the doors of many vestment cases opened wide. And, since with [outgoing papal Master of Ceremonies] Msgr. Piero Marini precious sacred vestments of the papal treasury were banished to give way to a panoply of questionable creations, one might suppose that in the coming weeks the former will be brought out into the light to make room for the latter. And there won’t even be any need for mothballs: moths don’t like plastic.

Source: Quel diluvio del dopo-Marini che non c'è stato, translation into English at Fr Z's blog post Mutiny on the Loggia of Pontifical Ceremonies.

Between now and December 7, the Vatican Museums are exhibiting about 100 paintings depicting parts of St John's Book of Revelation. There's an article in Italian from Vatican Radio, Inaugurata in Vaticano la Mostra "Apocalisse. L'ultima Rivelazione", and in English, from The Telegraph at Let's celebrate the Apocalypse, says Vatican and from Catholic News Service at Vatican Museums shows art works inspired by vision of Apocalypse.

One of the works is the Archangel Michael, by Guido Reni (images below the break) from the Altar of St Michael the Archangel in St Peter's Basilica, which I discussed in the post here: The Archangel Michael overpowers, flattens, and subdues a [future] Pope:

It shows the archangel trampling a Satan with the vividly recognizable features of Giovanni Battista Pamphilj (or Pamphili), later elected as Pope Innocent X. It was commissioned by Antonio Cardinal Barberini, a Capuchin and twin brother of Pope Urban VIII, and a fierce rival of the then Giovanni Battista Cardinal Pamphilj.

After Pamphilj was made Pope, Cardinal Barberini left Rome. Reni moved to Bologna and stayed there.

Source: Guido Reni and the Politics of Art at the idle speculations blog.

Digital information is different.

Digital information takes different forms.

Digital information has no fixed material form.

There is no library shelf.

Hyperlinks are enough and we aren't limited to the content experts create. We organize the information ourselves, without material constraint, without categories. Everything is miscellaneous.

We are no longer fed information, nor do we find information. We can make information find us.

Source: Library 2.0 = Library R/evolution post at The Shifted Librarian and the YouTube video Information R/evolution by Michael Wesch, the Kansas State University professor. Cory Doctorow also has a post on Boing Boing: Information R/evolution: video explains how awesome it is that everything is miscellaneous.

The Oxford Gregorian Chant Society blog has a post today, YouTube video of faux bourdon in Merton [College], which links to YouTube videos with the 'faux bourdon' chant technique, recorded at the 2006 CIEL conference and another from CIEL at Merton in A.D. 2007. One of the cantors in A.D. 2007 was Philippe Guy.

Below the break, I quote one of the comments which defines or describes 'faux bourdon'.

CIEL is the Centre International d'Etudes Liturgiques, and background on it can be found at CIEL: its mission and rôle, from the journal Oriens.

This article discusses the 'faux bourdon' technique, and Guillaume Dufay's contribution: Guillaume Dufay: The Man & His Music. Wikipedia has an eponymous article.

The blogger at Giornale Nuovo is calling it quits after five years. I mentioned it about two years ago, in the post Some more art image resources via St Anthony's Temptations, near the bottom of that post, and since then, it always kept my imagination sharp. The St Anthony temptations images discovered via Giornale Nuovo are below the break.

At the moment, there are about 20 comments to misteraitch's final post, Thank You, and Goodnight!. misteraitch will keep the archives on line 'for at least a couple more years.'

The Firefox ScrapBook extension is one way to retrieve the archives for local, off line reading, and you'll have a copy in case the archives disappear from the 'net, as happened with catholichaven.org and its Dom Guéranger's Liturgical Year excerpts.

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.

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

For the past few weeks, the Summorum Pontificum podcast has not been updated, the last entries being for the Seventeenth Sunday after Pentecost.

Today's Epsitle is the 'armor of God' part from Ephesians, the Gospel the parable of the ungrateful servant, and the Offertory from Job, all of which draw our minds to the evil days which may befall us.

Today, as Elena Maria Vidal points out in Blessed Charles of Austria, in the new calendar, the Church remembers Charles of Austria.

Karl's virtues are illuminated well by Christendom College's Dr Warren Carroll in the forty-four minute long podcast accompanying Blessed Charles of Austria: A Man of Peace in a World at War.

Images of the Blessed are below the break.

Fr Ray Blake's blog post Words, words, words or how do you get silence into the liturgy? asks that question, since the techniques Father has used seem to him to be '[a]rtificial silences, . . . periods of waiting. . . . [After Communion], I very soon got the impression that everyone else was waiting too, for me. I became the focus of their wait, not the Lord.'

I have no words (wordplay intended, wordplay intended) to offer. In their stead, I offer the images from Cnytr's post .:{St. Peter Martyr vrs. Heresy -- shh!}:. and from A.K.M. Adam's post Another Peter Martyr, and some wordy comments below the break.

Peter Martyr Enjoins Silence
Fra Angelico, Monastery of San Marco, Florence


Peter Martyr prayer card

Today in some parts, the Church remembers St Frideswide, abbess. She was the daughter of 'Didan, a seventh century Mercian sub-king of the territory west of the Cherwell and north of the Thames', to quote Ted Hewitt's post to the Yahoo email group Medieval Saints. An image of her stained glass window in Christ Church, the CofE cathedral in Oxford, is below the break.

Her church, the site of her monastery of nuns, had some parochial authority and probably maintained priests. That status was later reformed, the church becoming a priory of canons following the Augustinian rule. Much later, Cardinal Wolsey suppressed the monastery to build Christ Church College at the Univserity of Oxford.

Here is her entry in Agnes B. C. Dunbar's A dictionary of saintly women (vol 1), which mentions why English kings would not enter Oxford until Henry III (reigned A.D. 1216 TO A.D. 1272):

St. Frideswide, Oct. 19; translation, Feb. 12 (FREDESWEND, FREDESWYTHA, FRETHESWYTHA, FRITHESWOED, etc.; in French, FREVISE, FREWISSE). c. 650-735. Patron of Oxford and of Bomy, in Artois. Represented with the pastoral staff of an abbess, a fountain springing up near her, an ox at her feet. Born at Oxford, which was then in the kingdom of Mercia. Her pious parents, Didan and Safrida, committed her to the care of a holy woman named Algiva. After her mother s death, she returned to live with her father. He built a church at the gates of Oxford, and there she took the veil with twelve young women of her acquaintance. Didan then built them a convent near the church, and they lived there, not bound by the rules of the cloister, but by holy charity and love of seclusion. Algar, prince of Mercia, sent to ask Frideswide to marry him, as she was beautiful and very rich. She excused herself on the plea of her vow of celibacy. He persisted, and at last made a plan to carry her off. She fled to the river, and finding a boat, floated to Benton, about ten miles from Oxford. She took up her abode in a deserted hut used to shelter the swine that fed on the acorns in the forest. Here a fountain sprang up at her prayer. She remained concealed for about three years, while Algar tried to find her, at one time threatening to burn the city of Oxford unless she were given up to him. At last he discovered her hiding-place, and vowed to sacrifice her not only to his own brutality, but to that of his men. Just as she was about to fall into his hands, and was so worn out with fatigue and starvation that her last strength was forsaking her, she bethought her of the great saints who in the days of the early Church had saved their honour at tho price of life; she invoked SS. CATHERINE and CECILIA. Immediately her persecutor was struck blind, and she was unmolested. She restored sight to her enemy on his repentance. She returned to Oxford, and there collected round her a number of Saxon maidens, over whom she presided in great holiness until her death in 735.

Many miracles are told of her in her life, and after her death. One of the former is that a leper conjured her in the name of Christ to kiss him, and she, overcoming her fear of infection and natural disgust at his loathsome condition, made the sign of the cross and kissed him. Immediately the scales fell from him, and his flesh came again like that of a child.

Multitudes of pilgrims resorted to her tomb, the chapel on the site of the pigs' hut, and the fountain which had sprung up at her prayer, and which soon became famous for miraculous cures.

In 1180 her body was solemnly taken up from the obscure part of the church where it was buried, and translated to the chief place in the church, in presence of a great concourse of nobles, prelates, and people.

For centuries no king of England would enter Oxford for fear of being struck blind. Henry III. was the first to disregard the tradition, and there were not wanting persons who attributed all his misfortunes to his presumption. Many kings, however, gave munificent offerings to the churches and schools of Oxford. The first school known with certainty to have existed in the sanctuary of St. Frideswide has become one of the most famous centres of literary and intellectual life in the world. Her monastery is the College of Christ Church, the chief college of Oxford, and her church, rebuilt in the 12th century, is the cathedral.

One version of her story says that she lived, died, and was buried at Thornbury, now Binsey, and that her body was translated thence to Oxford in the 12th century.

At Bomy, near Therouanne, in Artois, there is a tradition that she fled thither from the pursuit of Algar, and a fountain, said to have sprung up at her desire, is resorted to for cures and other answers to prayer.

Notwithstanding these discrepancies in the accounts, and the fact that Bede, who was living during her reputed period, does not mention her, critics agree that her story is true in the main.

RM. Smith and Wace. AA.SS. Mabillon, Montalembert, Baillet, Butler, and every collection of English saints.

Beginning Monday, October 22, 2007, the BBC's Radio 4 will air fifteen minute shows with Prof Eamon Duffy on 'Ten Popes Who Shook the World'. So far, the web page for the series only lists the first five. In order of presentation, these popes are:

• St Peter on Monday, October 22,
• Pope St Leo the Great, on Tuesday, October 23,
• Pope St Gregory the Great, on Wednesday, October 24,
• Pope St Gregory VII, on Thursday, October 25,
• Pope Innocent III on Friday, October 26.

The web page doesn't indicate whether the shows will be available for time shifted listening. Radio 4 is streamed, so they will be available for listening through the web.

The shows air at 1545 GMT/UTC. At the moment, 1545 GMT/UTC is 11:45 a.m. in the United States' Eastern Time Zone, where we are on Daylight Saving Time. Daylight Saving Time does not end in October, 2007, in the U.S.A., but on November 4, 2007, the first Sunday in November. (It is Daylight Saving Time, not Daylight Savings Time.)

(Well, that's a bit of an exaggeration, but we're Easter people, right? and I need to show my adherence to, umm, VII, right?)

Maria Lectrix is back, with “The Lorica of St. Brendan”, which I guess is her 915th podcast.

Fr Tim Finigan, in his blog post Day trip to Walsingham, draws our attention to a proposed memorial to the Marian Shrines destroyed in the English Reformation. From the memorial's web page:

In 2005, at the conclusion of the ‘Reparation Pilgrimages’, it was decided that we would erect a beautiful statue of Our Lady on a site [on the Embankment] in Chelsea as an act of atonement as close as possible to where Her statues were burnt. . . .

It was during that summer [of A.D. 1538], that [Sir Thomas] Cromwell ordered the statues [of Our Lady] stripped from the despoiled monastic shrines to be brought to Chelsea, so he could witness their being burnt, personally. . . .

[I]t is proposed that the sculpture will be in the form of a triptych, with the left hand panel depicting the burning of the statues in Chelsea and the right hand panel showing the stripping of the monastic churches, prior to their demolition.. In the centre, against the background of Walsingham Priory, Our Lady of the Cloak will be depicted, with Her children gathered beneath, expressing Mary’s Motherhood to all Mankind. The sculpture will be cast in bronze around the base bronze plaques, highlighted in enamel, will depict eleven scenes from the life of Our Lady and give the historical background to the memorial and the site. The words “Mary Most Holy” will be written in a number of languages, for those from other cultures and faiths.

We are hoping that the memorial will be ready for unveiling in 2009, on or near the feast of St Thomas More. It is intended that the memorial be not only a commemoration of an historical event which took place in Chelsea but a spiritual act of reparation for the desecration that took place over 450 years ago.

The Embankment is the Thames River bank, usually referring to the stretch in greater London. Chelsea is one of the boroughs of London, to the west of Westminster.

The post from A.D. 2005 is here, and it includes the Breviary's Lessons iv v and vi. I've put the six images of him painting the Virgin, either sitting for her portrait or appearing to him in a vision, below the break in this post.

Here is a portion of Trent's decree from the Twenty-Fifth Session:

[T]he bishops shall carefully teach this,-that, by means of the histories of the mysteries of our Redemption, portrayed by paintings or other representations, the people is instructed, and confirmed in (the habit of) remembering, and continually revolving in mind the articles of faith; as also that great profit is derived from all sacred images, not only because the people are thereby admonished of the benefits and gifts bestowed upon them by Christ, but also because the miracles which God has performed by means of the saints, and their salutary examples, are set before the eyes of the faithful; that so they may give God thanks for those things; may order their own lives and manners in imitation of the saints; and may be excited to adore and love God, and to cultivate piety. But if any one shall teach, or entertain sentiments, contrary to these decrees; let him be anathema.

A friend pointed out this interesting bit about one of the men to be created cardinal in the upcoming consistory, John P. Foley:

When the Vatican started to investigate the possibility of going online, Cardinal-designate Foley lobbied tirelessly for the Holy See to be given its own top-level domain.

"We were first told that we should be part of .it for Italy; I told them we were surrounded by It; that in another sense, we were It, but we were not in It."

After refusing to settle for .it and .org, he succeeded in getting the Vatican the top-level domain of .va.

I wonder exactly what the tireless lobbying was to convince IANA to create the .va country code tld.

Some other interesting bits about .va:

The only publicly known .va domains are:

• benedettoxvi.va
• benedictumxvi.va
• ossrom.va (email only)
• sistinechapel.va
  • www.sistinechapel.va
• vatican.va (email only)
  • www.vatican.va
  • asv.vatican.va
  • mv.vatican.va
  • search.vatican.va
  • seraphin.vatican.va
  • mlists.vatican.va
  • bav.vatican.va
  • isidoro.vatican.va
• webmail.mailservice.va
• www.osservatoreromano.va
• www.pcf.va
• www.photo.va
• www.va
• www.vaticanstate.va

Second-level domains are not available to the public.

Source: .va at Wikipedia.

So I can't register inillotempore.va.

The root zone record for .va was created on September 11, 2005.

'Second Earth' found, 20 light years away. (Twin Earths was a Sunday comic I read as a kid. I don't remember if it appeared in the Newark Sunday News or the New Brunswick Sunday Home Journal.)

Twenty ly distant? Heck, β Virginis is 35.6 ± 0.3 ly distant. We could build a Bussard Ramjet and send the Leonora Christina!

Found via this article on reddit.

Many bloggers noted yesterday that October 15 is the day the Church remembers the Carmelite nun St Teresa of Avila, about a dozen entries showing up in my RSS feed reader. Podcast.net has a number of listings in its History category, one of which is the series of smARThistory video podcasts by Beth Harris and Steven Zucker, art historians at the Fashion Institute of Technology in New York City.

The smARThistory pages at podcast.net list 124 shows, and there's one (link to the video podcast in the next paragraph) on Bernini's well known 'Ecstasy of St. Teresa' in the Cornaro Chapel, or Cappella Cornaro, to the left of the main altar in the Roman church of Santa Maria della Vittoria. The chapel was redone for the Bernini masterpiece around A.D. 1647, only twenty-five years after Teresa was canonized. Federico Cardinal Cornaro commissioned the chapel, hence its name, required Bernini to personally execute the sculptures, and provided an unlimited budget. I haven't been able to find an image showing the layout of the church's interior, so here is its description from the Wikipedia entry linked above:

Its interior has a single wide nave under a low segmental vault, with three interconnecting side chapels behind arches separated by colossal corinthian pilasters with gilded capitals that support an enriched entablature.

For some of my comments on Bernini's statue of the young David about to launch his sling shot against Goliath, see the post Remembering December 7: Giovanni Lorenzo Bernini born.

That was quite a series of digressions. Getting back to the 'Ecstasy of St. Teresa' video podcast, the Harris and Zucker show is in .mov or .m4v format, and direct links to the seventeen minute long files are in the smARThistory blog entry Bernini’s Ecstasy of St. Theresa, Cornaro Chapel, Rome (c. 1650). Below the break are images of the Cornaro Chapel, seen looking down at a slight angle (an unusual perspective since most images on the 'net are looking slightly up) from the video podcast, as well as images of the chapel from the usual perspective, and of the sculpture showing Cornaro family members watching the event as if they were in stage-boxes. Harris and Zucker discuss the experience of entering (better described as 'first viewing') the chapel.

Quoting Sir Kenneth Clark's Civilisation:

Bernini's gift of sympathetic imagination, of entering into the emotions of others - a gift no doubt enhanced by his practice of the Spiritual Exercises of Ignatius - is used to convey that rarest and most precious of all emotional states, that of religious ecstasy. He describes that supreme moment of [St Teresa of Avila's] life: how an angel with a flaming golden arrow pierced her heart repeatedly. It was the caressing of soul by God.

For the full context in which I previously used that quote, see the post Artistic Expression of Jesuit Values.

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 at Dominica XX. post Pentecosten.

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 XX. post Pentecosten.

For the past few weeks, the Summorum Pontificum podcast has not been updated, the last entries being for the Seventeenth Sunday after Pentecost.

On this date in A.D. 1428, thirteen years after the French loss at Agincourt, the English Siege of Orléans began. I have an mp3 format audio file of the BBC's In our time Radio 4 program here for download or immediate listening (direct link to the mp3).

"Enter then, for the city is yours,' cried the Maid.

'Jeanne d'Arc calls out as her banner was carried to the wall of the barbican before Les Tourelles, So is recorded the climatic moment of the French attack against the English stronghold at the siege of Orléans. (Twentieth-century watercolor illustration by William Rainey from Mary Macgregor's The Story of France.)

Thanks to Elena Maria Vidal's blog post The Banner of Saint Joan of Arc, we have a link to an online article by Jean-Claude Colrat, A Study of Jeanne d'Arc's Standard. Another article is Coat of Arms of Jeanne d'Arc.

The Xenophon Group's Military History Database has a lengthy article on the siege at Siege of Orléans (1428-1429) and the Loire Valley Campaign (1429) with strategic and tactical maps.

Paul Halsall's Livre des sources médiévales has the text of her and her family's ennoblement.

View of Orléans in 1428

A number of bloggers note today that the Church remembers St Denis on October 9: (in no particular order)

• Montjoie Saint Denis! by Elena Maria Vidal of Tea at Trianon,
• St. Denis and companions, martyrs by Argent at Argent by the Tiber,
• St. Denis by Carolina Cannonball at Crescat (does anyone have the American bishop's remark at Vatican I about the French bishops walking around without their heads?), and
• Revolutionary by Daniel Mitsui at the Lion and the Cardinal (a mention in passing).

So, I think it appropriate to point to the wonderful site Saint-Denis, a town in the Middle Ages. The site is well designed and from 'The town and the abbey', to its men and women, to its crafts and daily life, to archaeology, territory and citizenship, you can lose yourself in the material there.

ANSA, the Italian news agency, is reporting that a CAT scan has detected a Hidden face under [the] Antonello [Annunciation] Madonna, the Virgine Annunciata in the Palazzo Abatellis, Palermo, Sicily. ANSA's articles expire after a time, so below the break, I reproduce much of the English language version.

In one version of Giorgio Vasari's Lives of the Artists Vasari says that Antonello brought from Flanders to Italy the technique of painting in oil:

Now there was a certain Antonello da Messina, a man of an acute mind and well skilled in his art, who had studied drawing at Rome for many and afterwards worked at Palermo, and came back to Messina his native place, having obtained a good repute for his skill in painting. He, going on business from Sicily to Naples, heard that this picture by John of Bruges had come from Flanders to the and that it could be washed, and perfect. He contrived therefore the vivacity of the colours, and the way [in which] they were blended, had such an effect upon him that, laying aside all other matters, he set off for Flanders. And when he came to Bruges he presented himself to John, and made him many presents of drawings in the Italian manner, and other things, so that John, moved by these and the deference Antonello paid him, and feeling himself growing old, allowed Antonello to see his method of painting in oil, and he did not leave the place until he had learnt all that he desired. But when John was dead Antonello returned to his country to make Italy participate in his useful and convenient secret. And after having spent some months in Messina he went to Venice, where, being a person much given to pleasure, he determined to settle and end is days. There he painted many pictures in oil, and acquired a great name.

Source: Antonello da Messina, Andrea del Castagno, and Domenico Veneziano in Medieval Sourcebook: Giorgio Vasari (1511-1574): Lives of the Artists, selections.

I have a huge image of the Virgin of the Annunciation, which is below the break in a reduced format. You really should right mouse click and 'view image' to see it in full size.

The painting traveled to New York City's Metropolitan Museum of Art in A.D. 2005, and the Met still has the web pages from the exhibition available at Antonello da Messina: Sicily's Renaissance Master: 'Few 15th-century paintings have a similar quality of pure geometry and repose.' The comments at the Met's site say that Our Lady is extending her hand in blessing, but a different interpretation is argued for at Tempo narrativo nell'Annunziata dell'Antonello da Messina (Narrative Time in Antonello da Messina's L'Annunziata):

Antonello provides a narrative of the principal elements of the very well known story of the Annunciation. More than a snapshot, this painting combines events dispersed throughout time. Those events are causally related in objective reality and in history. They are much more than the impressions or sentiments provoked in the viewing subject. Those impressions and sentiments are dependent upon an understanding of the full meaning of this painting, and, in final analysis, faith in the Christian doctrine of the story of salvation. . . .

[T]he right hand of the Virgin with its palm extended forward represents Mary's initial reaction to the entry of the Archangel.

The Vulgate translation of the Gospel of Luke, well-known by Antonello asserts: "et ingressus angelus ad eam dixit have gratia plena Dominus tecum benedicta tu in mulieribus quae cum vidisset turbata est in sermone eius et cogitabat qualis esset ista salutatio" (Lk 1, 28-29). Mary is surprised and troubled by the intrusion of St. Gabriel and his unexpected greeting. She, therefore, extends her right hand in self-defense. Note that since the troubled and defensive expression of her right hand does not at all coincide with her serene gaze, the emotive dissonance of these two elements, her right hand and her eyes, must be meant to express two distinct times.

Third, the gesture of Mary's left hand contains two distinct temporal moments. A zoomed detail of the painting helps to make out the double meaning of her gesture.

After the Angel has told her not to fear, Gabriel announces. "You will conceive in your womb and bear a Son, he shall be called Son of the Most High." The gesture of Mary's left hand expresses her understanding that she is the woman prophesied by Isaiah in the book in front of her. (Perhaps she realizes that her personal prayer, upon reading Isaiah, has been answered.) Her left hand gathers the meaning from Sacred Scripture and points to herself, to her Heart, with self-understanding, even historical self-understanding. But Antonello communicates even more through the dense imagery of the Virgin's left hand. In addition to pointing to her Heart, the fingers of her hand gather together her veil to chastely cover her breast to graphically indicate the question she then poses to the Angel upon having understand his message. "How can this be since I do not know man?" (Lk, 1, 34: "quomodo fiet istud quoniam virum non cognosco").[2] The third time of this drama therefore compresses two subordinate temporal moments of the story.

Fourth, and finally, Mary's eyes express a gaze entirely different from anything that could be described as fear, uncertainty, condescension, or concern.

These majestic eyes look out with the composure and confidence proper to the Queen she now is. With her gaze, from her new perspective as Mother of God, she now looks down upon the Archangel, because with her eyes she proclaims "ecce ancilla Domini fiat mihi secundum verbum tuum" (Lk 1, 38: "behold the Handmaid of the Lord, be it done unto me according to your word.") Antonello has advanced beyond the need to paint a dove flying down from heaven. From the self-composure of her haunting gaze, We know the Holy Spirit has already come.

One in time with the eyes of the Virgin are her lips. . . .

[W]hen one contemplates the enigmatic expression from up close and in unison with her eyes, but separate from the posterior time of her hands, one sees that her lips express a sublime, superhuman joy. An ordinary teenage girl might react to this truly fabulous news with an open-mouthed laugh of ecstatic joy. But this Virgin is the Immaculate Conception and, now, the Mother of God. Antonello shows us how Mary's joy is composed by her graceful self-dominion. . . .

As Mary lifted herself from the book to meet the divine Messenger, the book remained open but with the pages suspended in mid air, ready to fall forward or back, dependent not upon chance but upon the free will of a teenage Jewish Virgin. The poised pages of the book represent the dramatic character of the moment. All of history, all of creation expectantly waits for her "fiat", so that each of us can find a place within her heroic drama.

The entire article is well worth reading, especially as it has detail images of the Virgine Annunciata supporting the interpretations. As with many other images on the 'net, the coloring and contrast differ from the one below the break, and the different images illuminate and bolster the insights and analysis.

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18:40 || paintings, frescoes, sketches and drawings || Permalink to this entry || two comments, already

Were the Dark Ages Really That Dark? live on Geekrati radio, Monday, Oct 8 at 10 p.m. EDT

Prof Richard Scott Nokes will be the guest of Christian Johnson on Geekrati radio on Monday, Oct 8 at 10 p.m. EDT. Dr Nokes is professor of medieval literature at Troy University, Troy, Alabama, U.S.A. The show will be archived for time shifted listening, but the participants will take listeners' calls as well, at (646) 478-5041.

Prof Nokes blogs at Unlocked Wordhoard.

The full title and description of the show's topic is

Were the Dark Ages Really That Dark? A Discussion of Pop Culture Medievalism.

Tonight we will be talking with Professor Richard Nokes about the phenomenon of Popular Medievalism. As consumers of entertainment, we are surrounded by medieval imagery. How well does this imagery reflect the middle ages?

10 08 07 02:29 || audio, heritage || Permalink to this entry || No comments yet

TLM in St Henry's Cathedral, Helsinki, Finland, Oct 6, 2007

Though I don't read, speak or write Finnish, these two blog posts look as if there was a TLM in the cathedral in Helsinski, celebrated by Fr Daniel Eichhorn, FSSP, from Maria Hilf in Cologne, with chant from the Societas Sancti Gregorii Magni of Helsinki:

• Vanhan messun uusi aika - osa 1,
• Vanhan messun uusi aika - osa 2.

There are images of the Mass at both posts.

02:09 || images, Latin Mass communities || Permalink to this entry || Only one comment

The Battle of Lepanto, in stucco, by Giacomo Serpotta

The Italian sculptor Giacomo Serpotta's stucco panel on the rear wall of the Oratorio del Rosario di Santa Cita (St Zita) in Palermo depicts scenes from the New Testament and of the Battle of Lepanto. Two images of the rear wall are below the break.

'[Serpotta's] “secret” was to add marble dust to the lime and plaster that hitherto had normally been used to make the stucco: this marble dust gave the statues an exceptional surface brilliance. This technique’s drawback was that the stucco had to be worked with great rapidity before it dried out, which meant that the artist had to be particularly imaginative in the way he improvised faces, gestures, and ornamentations.'

Source: Itinerari Serpottiani.

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10 07 07 19:59 || churches, chapels, basilicas, oratories and the like, sculpture || Permalink to this entry || six comments, already

October 7, Feast of the Holy Rosary, or Our Lady of Victory, missing pages in The Chants of the Vatican Gradual by Dom Dominic Johner

Along with the Gradual, the Catholic Music Association of America made Dom Johner's Chants of the Vatican Gradual available as a .pdf file here. This is a commentary, 'a book descriptive and explanatory of the Gregorian Mass chants'. In the Foreword by the translators, Dom Johner is quoted:

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.

The Introit, Gradual, Alleluia-verse, Tract, Sequence, Offertory, and Communion 'are studied in their historical and liturgical setting, and their sentiments of joy and sorrow, hope and fear, gratitude and penance, are pointed out and developed. In this sense also the intimate relationship existing between these various texts is indicated; all are integrated into a unified whole and referred to the life of Christ and His Church. Following this short meditation, the author analyses the musical score accompanying the text, and attempts to show how Gregorian Chant interprets these various sentiments and gives adequate expression to them — in short, how Gregorian Chant is the perfect yet simple medium of translating religious emotion into the language of music.' (Quoting the translators.)

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.

Unfortunately, I discovered today that the pdf file from the Catholic Music Association of America has some missing pages. Page 451, on The Dedication of St. Michael the Archangel, skips to page 454, part of the commentary on today's feast, The Most Holy Rosary of the Blessed Virgin Mary, so pages 452 and 453 are missing. This cuts out all of the commentary on The Holy Guardian Angels and part of the commentary on the feast of the Holy Rosary. The file does contain the commentary on today's Alleluia, Offertory and Communion, which I reproduce here below the break.

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14:07 || chant, song, hymns and music, The Chants of the Vatican Gradual by Dom Dominic Johner || Permalink to this entry || No comments yet

October 7, Feast of the Holy Rosary, or Our Lady of Victory, Excerpts from Dom Guéranger's Liturgical Year

Thanks to Oliver McCarthy, we have Dom Guéranger's commentary on this feast, from The Liturgical Year at his blog post Queen of Battles, Pray for Us.

11:00 || blogs and other internet resources, The Liturgical Year, by Dom Gueranger || Permalink to this entry || Only one comment

October 7, Feast of the Holy Rosary, or Our Lady of Victory, mp3 of Chesterton's poem 'Lepanto' and the Lepanto novena

There is an mp3 audio file of G.K. Chesterton's poem, sung, on the Maria Lectrix blog in this entry. The same rendition of the poem is available in different formats on the Internet Archive at "Lepanto" (June 17, 2006).

The Blue Boar, a blog of which I just learned, 'devoted to G.K. Chesterton, our Lady, home brewing, inns, Distributism, good literature, the lost art of Catholic drinking, and other crucial elements of Catholic culture', has had a Lepanto novena going since September 29. Here are the entries so far, which contain short commentaries on the poem's stanzas:

• Today is the feast of St. Michael, St. Gabriel, and St. Raphael, and the start of the Lepanto novena,
• Day two of the Lepanto novena,
• Day three of the Lepanto novena,
• No I did not forget: Day 4 of the Lepanto Novena,
• Day 5 of the Lepanto Novena,
• Day 6 of the Lepanto novena,
• Day 7 of the Lepanto novena,
• Day 8 of the Lepanto Novena.

10:56 || audio, blogs and other internet resources, Literature, prayer and prayers || Permalink to this entry || Only one comment

October 7, Feast of the Holy Rosary, or Our Lady of Victory, with images of the battle of Lepanto

The post on this feast, from 2005, is here. It has Lessons iv v and vi from the breviary.net entry. I haven't located any mp3 audio files of today's propers.

Below the break, I've included the two images from my post, showing the order of battle of the navies at the Battle of Lepanto, and Paolo Veronese's The Battle of Lepanto, wherein 'Saints Peter, Roch, Justine and Mark implore the Virgin to grant victory to the Christian fleet. In answer to this an angel hurls burning arrows at the Turkish vessels.'

Wikipedia's detailed article on the battle is here.

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10:54 || Breviary, Divine Office, paintings, frescoes, sketches and drawings || Permalink to this entry || two comments, already

Polish Bishops' Conference guidelines for TLM, in English translation

Following up on Polish bishops on Summorum Pontificum, the earlier post here, the Polish language blog Kronika Novus Ordo has a translation into English of the guidelines issued by the Polish Bishops Conference, in the October 5 post Polish Bishops' Conference guidelines for TLM.

The English translation there accords well with one given on a private mailing list.

10 05 07 06:42 || blogs and other internet resources, liturgy, rubrics, ceremonies and the like || Permalink to this entry || Only one comment

Chesterton's St Francis and the flowering of the Middle Ages

G.K. Chesterton's 'biography' of St Francis is a wonderful read, and would make an even more wonderful podcast.

The following excerpt struck me when I first read it. It treats what had to happen in order for the flowering of the Middle Ages to happen.

Now everybody knows, I imagine, that the twelfth and thirteenth centuries were an awakening of the world. They were a fresh flowering of culture and the creative arts after a long spell of much sterner and even more sterile experience which we call the Dark Ages. They may be called an emancipation; they were certainly an end; an end of what may at least seem a harsher and more inhuman time. But what was it that was ended? From what was it that men were emancipated? . . .

It was the end of a penance; or, if it be preferred, a purgation. It marked the moment when a certain spiritual expiation had been finally worked out and certain spiritual diseases had been finally expelled from the system. They had been expelled by an era of asceticism, which was the only thing that could have expelled them. Christianity had entered the world to cure the world; and she cured it in the only way in which it could be cured. Viewed merely in an external and experimental fashion, the whole of the high civilisation of antiquity had ended in the learning of a certain lesson; that is, in its conversion to Christianity. But that lesson was a psychological fact as well as a theological faith. . . .

It was no metaphor to say that these people needed a new heaven and a new earth; for they had really defiled their own earth and even their own heaven. How could their case be met by looking at the sky, when erotic legends were scrawled in stars across it; how could they learn anything from the love of birds and flowers after the sort of love stories that were told of them? It is impossible here to multiply evidences, and one small example may stand for the rest. We know what sort of sentimental associations are called up to us by the phrase "a garden"; and how we think mostly of the memory of melancholy and innocent romances, or quite as often of some gracious maiden lady or kindly old person pottering under a yew hedge, perhaps in sight of a village spire. Then, let anyone who knows a little Latin poetry recall suddenly what would have once stood in place of the sun-dial or the fountain, obscene and monstrous in the sun; and of what sort was the god of their gardens.

Nothing could purge this obsession but a religion that was literally unearthly. It was no good telling such people to have a natural religion full of stars and flowers; there was not a flower or even a star that had not been stained. They had to go into the desert where they could find no flowers or even into the cavern where they could see no stars. . . . Whatever natural religion may have had to do with their beginnings, nothing but fiends now inhabited those hollow shrines. Pan was nothing but panic. Venus was nothing but venereal vice. I do not mean for a moment, of course, that all the individual pagans were of this character even to the end; but it was as individuals that they differed from it. Nothing distinguishes paganism from Christianity so clearly as the fact that the individual thing called philosophy had little or nothing to do with the social thing called religion. Anyhow it was no good to preach natural religion to people to whom nature had grown as unnatural as any religion. They knew much better than we do what was the matter with them and what sort of demons at once tempted and tormented them; and they wrote across that great space of history the text; "This sort goeth not out but by prayer and fasting."

Now the historical importance of Saint Francis and the transition from the twelfth to the thirteenth centuries, lies in the fact that they marked the end of this expiation. Men at the close of the dark Ages may have been rude and unlettered and unlearned in everything but wars with heathen tribes, more barbarous than themselves, but they were clean.

Read all of St Francis by G.K. Chesterton here.

10 04 07 18:06 || Literature, saints || Permalink to this entry || No comments yet

Two humorous blog posts: The Church as an open source project, and Who's on first, Latin Mass version

Thanks to blogger nictitator for What if the Church was an opensource software project?.

And thanks to blogger Vir Speluncae Catholicus for Who's On First? The Latin Mass version. Both of these recently made me laugh.

15:30 || amusements || Permalink to this entry || No comments yet

October 4, St Francis of Assisi, Confessor, with images and mp3 files of his life

The post from 2005 is here, and below the break in this post, I include the image of the Nativity celebrated in the monastery of Greccio, by Benozzo Gozzoliand Obsequies of St Francis, by Domenico Ghirlandaio. The old post includes Lessons iv v and vi for this saint.

If you want to hear some charming and edifying tales about Francis and some of his early followers, listen to the mp3 audio files at the Christian Classics Ethereal Library of The Little Flowers of St. Francis listed on the MP3 Files for Little Flowers of St. Francis of Assisi (by Brother Ugolino) page. The text is available in various formats on the CCEL's site at Little Flowers of St. Francis of Assisi.

You can browse the CCEL's entire list of works in mp3 format here.

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15:25 || audio, blogs and other internet resources, Breviary, Divine Office, paintings, frescoes, sketches and drawings, saints || Permalink to this entry || two comments, already

Latin - Polish, Polish - Latin side by side Ordo Missae, 1962 Missal and other documents

Sacrae Liturgiae Praxis has the Ordo Missae side by side Latin - Polish, Polish - Latin here. Other documents, such as Quo primum, Rubricarum instructum, Novum rubricarum (1960), and the liturgical calendar according to the 1962 Missal, in Latin and Polish, can be accessed via the Missale Romanum page there.

10 03 07 18:50 || blogs and other internet resources, liturgy, rubrics, ceremonies and the like || Permalink to this entry || Only one comment

Latin - Polish, Polish - Latin side by side propers for the Sundays of the year

One site I visited from a link on Rzymski Katolik was the Lublin site Introibo, and it has side by side Latin and Polish propers for the 1962 Missal'a calendar at Msza święta, which I believe translates as 'Holy Mass'. Next Sunday's propers, for the Nineteenth Sunday after Pentecost are at Propria – teksty własne Mszy Świętej na XIX Niedzielę po Zesłaniu Ducha Świętego.

18:19 || blogs and other internet resources, liturgy, rubrics, ceremonies and the like || Permalink to this entry || four comments, already

Polish bishops on Summorum Pontificum

In this site's referrer logs, I recently saw some hits from the Rzymski Katolik blog. Since I don't read Polish, nor speak nor write the language, I haven't a clue what the blog's orientation is.

But it seems, from the post Polscy biskupi poprawiają papieża, that the Polish bishops have issued a statement on Summorum Pontificum.

I'd really appreciate an English translation.

There are many links on the blog to traditional Catholic sites in Poland, including Mass sites and priests, and other traditional blogs in Poland.

18:09 || blogs and other internet resources, liturgy, rubrics, ceremonies and the like || Permalink to this entry || two comments, already

Christendom College speakers podcast, via Raindear at the HaJollyHa blog

Today (October 1, 2007) on the HaJollyHa blog, Raindear posted Great Catholic Men of History, directly linking to two mp3 audio files of 'recordings of notable speeches made on campus, or made elsewhere by faculty of [Christendom] College' in Front Royal, Virginia, U.S.A. Here's the link to the site of the podcasts:

• Christendom College: Major Speakers and Guest Lectures.

There's an RSS feed here. (What is RSS?)

10 01 07 23:51 || audio, blogs and other internet resources, chant, song, hymns and music, Church history || Permalink to this entry || No comments yet

Podcasts and mp3 files: the latest, up-to-date, recent, releases for the abreast of the times, in advance of the times, ultramodern, cutting edge listener

I get a good amount of time through the day, at work and in my commute, to listen to podcasts on my Sansa Express mp3 player, and here are some podcasts I've listened to recently:

• C.S. Lewis' The Screwtape Letters, read by John Cleese,
• A Selection of Talks by the late Michael Davies,
• Story of Our Church,
• Tridentine Mass-1,
• Tridentine Mass-2,
• Summorum Pontificum podcast (but the site seems to be closed, or merely temporarily unavailable),
• The Medieval Intellectual Tradition,
• The Everlasting Man, G.K. Chesterton,
• Europe and the Faith, Hilaire Belloc,
• Catholic Sermons Series 2007 (by FSSP priests at St Philippine Duchesne,
• An Essay on the Development of Christian Doctrine, John Henry Newman,
• Ancient & Medieval History Podcast,
• Medieval Podcast,
• Little Flowers of St. Francis of Assisi .

Here are some I've downloaded and intend listening to:

• Dale Ahlquist, Chesterton: the Apostle fo Good Sense,
• Fr Charles Connor, Defenders of the Faith,
• Fr Charles Connor, Doctors of the Church,
• Fr Charles Connor, History of the Catholic Church in the US,
• Fr Charles Connor, the Sacrament through the Ages,
• Latin Mass Server Training Tape,
• Fr. Bernhard Blankenhorn, OP, Life of St. Dominic, and the Inquisition,
• Catholic Tradition and the Liturgy , Fr. Chad Ripperger, FSSP.

In addition, there are other history, baseball, Linux, astronomy and general science podcasts to which I subscribe through icepodder, or which I grab with axel ('opens more than one HTTP/FTP connection per download and each connection transfers its own, separate, part of the file') or wget (allows recursive downloading of all files with a particular extension, such as 'mp3').

The syntax 'axel [whatyouwanttograb] && axel [nextthingtograb] && axel . . .' will execute axel in sequence, continuing to the next if and only if the previous download was successful. Of course, the && operator can be used with wget as well.

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00:44 || amusements, audio, chant, song, hymns and music, Church history, Literature, liturgy, rubrics, ceremonies and the like, prayer and prayers || Permalink to this entry || No comments yet