Venantius Fortunatus and Passiontide

Although the current Roman Liturgical Calendar does not directly observe the last two weeks of Lent as Passiontide, some Catholic churches maintain the tradition of veiling their crucifixes and statues starting this Sunday, which in the 1962 Roman Missal begins Passiontide with Passion Sunday. You also might note in the Novus Ordo that the Preface is for the Passion of Our Lord at the daily Masses starting Monday and that there an optional collect on Friday for Our Lady of Sorrows.

Next Sunday will be Palm Sunday in Passiontide. From the 1913 Catholic Encyclopedia, Passiontide is defined as:

The two weeks between Passion Sunday and Easter. The last week is Holy Week, while the first is called by the Latins "Hebdomas Passionis", by the Greeks "Week of the palms" (from the Sunday following). During this time the monks of the East, who had chosen the desert for a severer mode of life, returned to their monasteries (Cyril of Scythopolis in "Life of St. Euthymius", n. 11). The rubrical prescriptions of the Roman Missal, Breviary, and "Caeremoniale Episcoporum" for this time are: before Vespers of Saturday preceding Passion Sunday the crosses, statues, and pictures of Our Lord and of the saints on the altar and throughout the church, with the sole exception of the crosses and pictures of the Way of the Cross, are to be covered with a violet veil, not translucent, nor in any way ornamented. The crosses remain covered until after the solemn denudation of the principal crucifix on Good Friday. The statues and pictures retain their covering, no matter what feast may occur, until the Gloria in Excelsis of Holy Saturday. According to an answer of the S. R. C. of 14 May, 1878, the practice may be tolerated of keeping the statue of St. Joseph, if outside the sanctuary, uncovered during the month of March, which is dedicated to his honour, even during Passiontide. In the Masses de tempore the Psalm Judica is not said; the Gloria Patri is omitted at the Asperges, the Introit, and the Lavabo; only two orations are recited and the Preface is of the Holy Cross. In the Dominical and ferial offices of the Breviary the doxology is omitted in the Invitatorium and in the responses, whether long or short. The crosses are veiled because Christ during this time no longer walked openly among the people, but hid himself. Hence in the papal chapel the veiling formerly took place at the words of the Gospel: "Jesus autem abscondebat se." [Jesus hid Himself] Another reason is added by Durandus, namely that Christ's divinity was hidden when he arrived at the time of His suffering and death. The images of the saints also are covered because it would seem improper for the servants to appear when the Master himself is hidden (Nilles, "Kal.", II, 188).

In some places the crosses were covered on Ash Wednesday; in others on the first Sunday of Lent. In England it was customary on the first Monday of Lent to cover up all the crucifixes, images of every kind, the reliquaries, and even the cup with the Blessed Sacrament. The cloths used were of white linen or silk and marked with a red cross (Rock, infra, IV, 258). The two beautiful hymns of the season, "Vexilla Regis" and "Pange lingua gloriosi", are the work of Venantius Fortunatus (q. v.), Bishop of Poitiers. On the Friday of Passion Week the Church very appropriately honours the Seven Dolours of Our Lady. On Saturday the Greeks commemorate the resuscitation of Lazarus.

John Mason Neale, the Anglo-Catholic Tractarian, translated Vexilla Regis as "The Royal Banners Forward Go", and Pange lingua gloriosi as "Sing, my tongue, the glorious battle".

My late husband Mark took the picture above one afternoon at Blessed Sacrament Catholic Church in Wichita, Kansas--you can see that the Crucifix in the Sanctuary of the church is veiled.

More Music for Holy Week

 

Years and years ago, my husband bought me this CD when he went to a conference in Dallas, Texas. It was released on the L'Oiseau-Lyre label in 1989 and has been rereleased now by ArchivMusic:

 

Barbara Katherine Jones and John Blackley direct Schola Antiqua in this 1985 collection of traditional Music for Holy Week, released as part of the Florilegium series on the L'Oiseau Lyre label.

A leader of its time, this recording represents Schola Antiqua's interpretation on the subject of proportional rhythm. Up until the point of this recording, most renderings of the music were based on the principle that all notes were fundamentally of equal length.

Founded in 1972 for the study and performance of chant and early liturgical music, Schola Antiqua's discography also includes Plainsong and Polyphony from Medieval Germany and A Guide to Gregorian Chant.

 

The first hymn on the CD is Venantius Fortunatus's Vexilla Regis:

Vexilla regis prodeunt
Fulget crucis mysterium
Quo carne carnis conditor
Suspensus est patibulo.

Quo vulneratus insuper
Mucrone diro lanceae
Ut nos lavaret crimine
Manavit unda et sanguine.

Impleta sunt quae concinit
David fideli carmine
Dicens In nationibus
Regnavit a ligno Deus.

The disc also contains the Ordinary for Maundy Thursday and Responsories, Antiphons, and the Improperia for Good Friday, concluding with the hymn Crux Fidelis/Pange Lingua, also by Fortunatus.

For years, I have also enjoyed listening to the Choir of King's College, Cambridge CD of Music for Holy Week conducted by Philip Ledger.

 

Unfortunately, this CD is out of print, but it includes music by Thomas Tallis, John Taverner, and Orlando Gibbons. The cover features a detail of Lamentation by Paul Troger, an Austrian artist who specialized in those Baroque ceiling paintings of apothesis and triumph, especially in monastic buildings and churches throughout Austria (including Melk Abbey).

 

Happy Holy Week: may the celebration of the Lord's Passion and Death deepen our devotion to Our Savior and bless us with His peace and salvation. I'll be taking a break from the blog after the Monday of Holy Week.