Missale Romanum

ABSTRACT. Among all the liturgical books of the Catholic Church, the Missale Romanum is of supreme importance for liturgical practice and scholarly investigation. After the Second Vatican Council, the “Institutio generalis” of the Roman Missal incorporated significant statements on art in the liturgical space. Scholars have paid little attention, however, to the illustration of the new Missal itself. To add depth to this research, the present paper examines the pictorial programme of 22 Catholic missals dating between 1970 and 2011.
The purpose of images in missals is a complex question requiring an interdisciplinary response. Pictures can perform a decorative and a mystagogical function. As dividers they mark the beginning of major sections in the text. Here they can also guide the celebrant towards spiritual focus. Artists who draw on the metaphorical and kerygmatic language of the text will supply a reference to the liturgical celebration of the Paschal mystery. This mystagogical function of potential missal images remains important today.
Before the liturgical reform, Roman Missals contained many brightly coloured pictures inspired by the Historicist style. Since the new edition of the Missale Romanum by Pope John XXIII (1962), there has been a discernible aesthetic preference for black and white images and fewer of them. The Latin and vernacular versions of the Editio typica (1970) upheld this minimalist trend. In France (1974, 1978) and Germany (1975, 1988), missals were published without illustrations.
Since the “Editio typica tertia” (2002/08), new trends have emerged, especially since 2005 in the English-speaking world, where US publishers illustrated both Latin and vernacular editions with large, colourful reproductions. Almost all English editions of 2011 contain photographic reproductions from Christian art history, in one case more than 300 pictures. Only one missal features work by a contemporary artist.
Thus there have been two extreme trends since the Second Vatican Council: the “purist” textual edition and the opulent “picture book” seem to result from two diametrically opposed views of how to compose a missal for the present day. This finding poses a practical challenge to the editors of vernacular missals to be published in forthcoming years.
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ABSTRACT. Unter den Liturgiebüchern der katholischen Kirche ist das Missale Romanum von größter Bedeutung für die liturgische Praxis und wissenschaftliche Erforschung. Nach dem Zweiten Vatikanum enthielt die „Institutio generalis“ des Römischen Messbuchs wichtige Aussagen zur Kunst im liturgischen Raum. Jedoch fand die Bildausstattung des neuen Missales selbst in der Forschung kaum Beachtung. Um diese Fragestellung zu intensivieren, untersucht der vorliegende Beitrag das Bildprogramm von 22 katholischen Messbüchern zwischen 1970 und 2011.
Die Frage nach dem Zweck von Bildern im Missale ist komplex und interdisziplinär zu beantworten. Die Bilder können dekorative und mystagogische Aufgaben erfüllen. Als Gliederungselement markieren sie den Beginn wichtiger Textabschnitte. Hier können sie den Zelebranten auch zur Innerlichkeit führen. Ihr Bezug zur liturgischen Feier des Paschamysteriums ist gewährleistet, falls Künstler die bildhaft-kerygmatische Sprache des Textes aufgreifen. Diese mystagogische Funktion eventueller Messbuch-Bilder ist auch heute wichtig.
Vor der Liturgiereform enthielten die Römischen Messbücher viele, starkfarbige Bilder, die stilistisch am Historismus orientiert waren. Seit der Neuausgabe des Missale Romanum durch Johannes XXIII. (1962) ist eine ästhetische Präferenz für schwarz-weiße Bilder in reduzierter Zahl erkennbar. In den lateinischen und volkssprachlichen Ausgaben der Editio typica (1970) setzte sich diese minimalistische Tendenz fort. In Frankreich (1974, 1978) und Deutschland (1975, 1988) kamen Messbücher ohne Bilder zum Einsatz.
Nach der „Editio typica tertia“ (2002/08) sind neue Tendenzen feststellbar, besonders ab 2005 im englischen Sprachraum, wo US-Verlage ihre lateinischen und volkssprachlichen Ausgaben mit farbigen, großformatigen Reproduktionen ausstatteten. Fast alle englischen Ausgaben von 2011 enthalten fotografische Reproduktionen aus der christlichen Kunstgeschichte, in einem Fall sogar über 300 Bilder. Nur ein einziges Messbuch enthält Werke eines zeitgenössischen Künstlers.
Nach dem Zweiten Vatikanischen Konzil sind somit zwei extreme Tendenzen erkennbar. Das „puristische“ Textbuch und das opulente „Bilderbuch“ scheinen das Resultat zweier diametral entgegengesetzter Auffassungen zu sein, wie ein zeitgemäßes Messbuch aussehen soll. In der Praxis fordert dieser Befund auch die Redaktionsarbeit der volkssprachlichen Missalien heraus, die in den nächsten Jahren ediert werden.

Texte repris du site Virgo Maria.org (http://www.virgo maria.org/articles/2008/MR_OraisonpourlaconversiondesJuifs.pdf)
Ce travail est précieux en ce qu'il retrace, sur la base des documents primaires (sources), l'évolution considérable de cette prière qui remonte au Vème siècle, et a causé un tort considérable aux Juifs en raison de son anti-judaïsme flagrant. Il a fallu plus de 15 siècles pour que, de retouche en retouche, elle prenne sa forme actuelle,,qui, si elle n'est pas entièrement satisfaisante, a au moins perdu son caractère diffamatoire et incitateur au mépris et à l'hostilité envers le peuple juif.

Reception of "Musicam sacram" in the context of preparing the liturgical renewal" - a paper given at the Conference "Music and Church: Cult and Culture. 50 years after Musicam Sacram" organised by the Pontifical Council for Culture, Rome 2nd to 4th March 2017. The paper shall be published with other papers delivered at the conference in due course.

This paper looks at the odd rubric that appeared in American missals from at least 1970 until the translation of the third typical edition in 2011. This rubric appeared to allow the recitation of the Eucharistic Prayer 'submissa voce.' This short note traces the origin of this rubric and connects it to Cardinal Ratzinger's suggestion that in later revisions, the canon should be permitted to be prayed silently.

The liturgical reforms of the 20th century within the western (specifically Roman Catholic) church are popularly interpreted according to one's conceptions of the liturgical developments ordered by the Council of Trent. This paper seeks to investigate the nature of the liturgical spirit of the latter part of the Middle Ages and the early modern period, from circa 1474-1630, tracing the development of the Mass from the rite of the Roman Curia through the promulgation of the 1570 missal and ending with the breviary of Urban VIII, showing that although changes were made along the way, the reforms of the period were made in order to maintain the textual and ritual tradition of the preceding 500 years, although this is more so true of the Mass than of the Divine Office. Finally, the paper concludes with a reflection upon the historiographical terminology used to refer to this period which illuminates the liturgical reforms themselves.

"The Post-Communion Prayers in the Ordinary Form of the Roman Rite" aims to provide easy access to the Latin source texts for every single post-communion prayer in the Roman Missal as reformed after the Second Vatican Council.

Readers will thus be able to compare any given post-communion prayer with its source text(s), to observe any differences between them, and how major or minor such differences might be in terms of tone, vocabulary, style, theology, etc. Along with references to the critical editions of the various source texts, citations of the "Corpus Orationum" and "Corpus Praefationum" series of volumes (Brepols) have also been provided where possible, to aid further research.

As well as being helpful for studies of the post-communion prayers of the Roman Missal, this book will contribute to the ongoing critical assessment of the post-Vatican II liturgical reforms.

The Memorial Acclamation (acclamation after the consecration) of the Roman rite of Mass, introduced by the Holy See in 1968, has been received in a variety of ways in different languages and local Churches.
The translations of the acclamations into modern languages have in some cases taken similar approaches while substantial changes in the texts are also noticed.
Examining three European languages into which the Memorial Acclamation has been received – English, French and Polish – the author examines the different approaches to translation and adaptation of their literary structure.
He posits influences among the languages examined, particularly focussing on the influence the French and English texts seem to have had on the Polish Missal of 1986.
To conclude, he comments on the strengths and weaknesses of the different approaches taken in receiving the Memorial Acclamation. Observing that the typical edition of the Memorial Acclamations remains incomplete (musically) fifty-one years after the acclamations were published, the author considers that reception in local churches might give guidance to further development in the typical editions of the liturgical books.

This paper examines the formularies provided under the title "Pro unitate Christianorum" that appear in the 1970 editio typica of the Missale Romanum promulgated by Pope Paul VI and in the 2002 editio typica tertia promulgated by Pope John Paul II.
The paper begins with a historical treatment of the liturgical precedents of these formularies, focusing on a 14th century Votive Mass formulary promulgated during the Western Schism by the Avignon Antipope Clement VII (1342-1394), which was eventually incorporated in a modified form into the Missale Romanum of 1570. I then describe the significance of the 14th century formulary for the 20th century ecumenical movement, focusing on the testimony provided by Paul Couturier and Yves Congar. Finally, I offer a detailed exposition of the first of the three prayer formularies of the contemporary Missale Romanum, showing its relationship to earlier euchological, theological, and magisterial sources.

The A. provides a liturgical and theological commentary on the hymn Gloria in excelsis Deo, pointing to its echoes of biblical texts, particularly the Book of Revelation, and its overall paschal and eschatological character, as underlined in various editions of the Institutio Generalis Missalis Romani. The A. sees the enduring usage by which the Roman
Liturgy associates the hymn with many Sunday celebrations and many feasts of the Martyrs and other Saints as being in harmony with this view.

This is the First Edition of our Annuario Academico for 2016-17, which we are sharing on Academia.edu to solicit interest from prospective students to study with us. Note that the edition is Polyglot, but the canonical version is the English.

The ScholastIcum is an institute for the study of Scholastic Theology and Philosophy, headquartered at Rome, dedicated to the promotion of the greater appreciation and understanding of Medieval Theology and Philosophy as it was taught at the University of Paris in the mid 13th century.

For that purpose, the Scholasticum focuses its attention on three fields of study, Medieval Philosophy, Medieval Biblical Studies and Scholastic Theology, offering graduate courses of Specialization in Medieval Studies, at Rome and via video-conferencing to students throughout the world, of the following kinds:

a) Preparatory courses in Latin, Philosophy, History and Medieval Studies, aimed at orientating the students for the three principle course-work.

b) Baccalaureatus Philosophicus: 2 year Course on medieval
Philosophy focusing on the Scholastics and pre-Scholastics
authorities and texts in Philosophy.

c) Baccalaureatus Biblicus: 2 year Course on medieval scriptural studies, based on the Glossae and Commentaries of that age.

d) Baccalaureatus Sententiarius: 2 year course on the Four Books of sentences of master Peter, taking as its text books, the Commentaria of Saints Thomas Aquinas and Bonaventure of Bagnoregio on the same.

e) Magister Sacrae Doctrinae: 1-2 year specialization program for Doctoral students, seeking to fully grasp the Scholastic method of theological instruction.

In the study of which, the Institute has the following academic objectives:

a) To impart to the student an authentic historical understanding of the authors, language and methods used at the University of Paris, in the mid 13th century.

b) To educate students with profound and complete knowledge of Peter Lombard’s Four Book of Sentences, in Latin and in translation.

c) To give the student a profound and practical experience in the understanding, formulation, crafting and argumentation of the Scholastic Method, as employed by Sts. Thomas Aquinas and Bonaventure of Bagnoregio.

d) To form students and instructors capable of Scholastic argumentation, analysis and research.

The faculty is to comprise full and part-time positions, with a frequency of visiting professorships, to provide a wide and broad exposure to the current research on the topics
treated of in this general description of the Institute.

XVII century Missal  decorated with super ex libris of father Stanisław Rozdrażewski, the parish-priest in Iłża

Preserved official records of inspection by Krakowska diocese inc-lude inventories of Iłża library of the Old Polish period. They are the lists of the titles and authors of the books collected in the parish library through the centuries. Most books listed in modern times still exist. The parish library in Iłża was catalogued in 1970s and it consists of 226 signatures comprising early imprints, and some new ones. The old imprints are stored in the form of adligat. XVII century  Missal with super ex libris of the parish-priest of Iłża, Stanisław Rozdrażewski, is one of the interesting liturgy books. It is an adligat with the signature of 160/VI and it comprises three imprints:
Missale Romanum, Missae propriare patronorum et festorum Regni Poloniae and
Missae propriae sanctorum Regni Sveciae. The super ex libris of Stanisław Rozdrażewski on this adligat proves the educational and intellectual superiority of the owner. The inscription by Szymon Makowski in Theologia christiana  positions Rozdrażewski in the elite group of the country.

Nella "Depositio martyrum" (354) si ricorda il 14 ottobre come il "dies natalis" di papa Callisto I, ucciso molto probabilmente – secondo vari studiosi – in un tumulto popolare a Trastevere. Il testo latino dell’orazione colletta della messa del 14 ottobre, nella terza edizione tipica del "Missale Romanum" è incentrata sulla verità di fede della risurrezione dai morti. Il presente articolo ne mette in evidenza il profondo contenuto teologico-biblico, specialmente attraverso il riferimento al testo paolino della 1Cor 15.

The editio tertia emendata of the Paul VI Missal was made available to the Church in 2008. Particularly noteworthy among the many emendationes of this edition is the one that refers to the situation when the bishop celebrates the Holy Mass outside his own diocese. In the Missal published in 2002, it was suggested that this mention should be as follows: et me indigno famulo tuo, et fratre meo N., Episcopo huius Ecclesiae N. In the revised edition it is proposed that the "guest" bishop should mention his brother first (et fratre meo N.), who for him is the bishop of the diocese where he celebrates Mass, and only later mention himself (et me indigno famulo tuo). In doing so, he should also not additionally define the local Church as "N.," i.e., for example, Varsovian or Washingtonian, which, as such, do not exist, but he should pray for the bishop of "this Church" (huius Ecclesiae), within which he celebrates the liturgy in communion with the universal Church, emphasized by fraternal unity with the local pastor. The article shows that this modification is of great theological significance and corresponds to the ecclesiology of Vatican II.

Ficha catalográfica de una pieza museística conservada en el Museo de arte sacro del Convento de Carmelitas Descalzos del Desierto de Las Palmas (Benicàssim, Castellón, España): Misal (tapas repujadas en plata en su color) con un éxtasis de santa Teresa (anverso) y san José y el Niño Jesús (reverso). Propiedad del Monasterio de Carmelitas Descalzas de Daimiel (Ciudad Real, España). Siglo XVIII. - Esta pieza participó en la exposición de Las Edades del Hombre "Teresa de Jesús, maestra de oración" (Ávila-Alba de Tormes, 2015) con ocasión del 5º centenario del nacimiento de santa Teresa de Jesús (1515-2015).

Il ritratto di Dio, delineato nella prima parte della colletta della Domenica XV «per annum» dell'attuale Messale Romano, rispecchia nitidamente i tratti paterni del Dio annunciato da Gesù Cristo. L’immagine della strada del ritorno («ut in viam possint redire»), su cui persino coloro che nella vita vagano da un errore all’altro («errantibus»), vengono impercettibilmente sospinti e guidati dalla luce divina («Deus, qui […] veritatis tuae lumen ostendis»), lascia balenare la parabola lucana del padre misericordioso e del figlio prodigo (Lc 15 ,11-32). La preghiera liturgica della Chiesa fa leva così sull’enunciato centrale del kerygma di Gesù Cristo, il quale sancisce che Dio offre il suo amore a tutti («Deus, […] da cunctis»), senza porre condizioni e senza fare distinzioni personali tra chi cammina sulla retta via e chi erra sulle strade del peccato («errantibus»).