Spy Wednesday Evening - Tenebrae of Mandy Thursday

The photograph (of a photograph) above was taken on Spy Wednesday evening 1995 just before the singing of <i>Tenebrae </i>in the Union Debating Chamber of the University of Durham. Even twenty-odd years on the 'Glover Triduum' remains one the most remarkable Western liturgical experiences for me, and for many others. It all seems a life-time ago and yet as of yesterday. Happy memories indeed.

Mandy Thursday is a Double of the First Class and its liturgical colour is violet, except for the Mass in the morning. During the late afternoon of Spy Wednesday (following the practice in Rome), or in the early evening, the service of Tenebrae is sung. Tenebrae is Mattins and Lauds, as usual anticipated, of the following liturgical day but the Office of the Triduum shows signs of antiquity and has developed a ceremonial extinguishing of candles that mimetically represent the desertion of the LORD by his disciples and the days of darkness - hence the name. Pius XII's wreckovators of the 1950s completely got this wrong - like so much else - and, following the rationalist ideas expressed by people such as the Jesuit Herbert Thurston in the early years of the twentieth century, decided the candles were merely extinguished as dawn was approaching and the psalmody of Lauds was more familiar so books were not needed. The consequence of these ideas is the spectacle of the new rite service of extinguishing candles at a service often starting at 10:00am in broad daylight - so much for the supposed 'correct' time of celebration of services! The definitive work on the time of Tenebrae A.J. MacGregor, 'Fire and Light in the Western Triduum', Alcuin Club Collection 71, 1992, demonstrates that Tenebrae was never celebrated in the daylight hours until the Pacellian deforms.

After Compline of Spy Wednesday the Palms that have decorated the church since Sunday are removed. The choir altar retains its violet antependia and the Blessed Sacrament removed if It is present. The altar cross is veiled in violet and the candlesticks, the plainest set used on Good Friday, have six lighted candles of unbleached wax.

In Rome Tenebrae in the Papal Chapel was celebrated very early so the rays of the setting sun would pass through a window of the Sistine Chapel. The Caeremoniale Episcoporum mentions Tenebrae starting progressively later each day of the Triduum. In practice the service 'works best' if it at least ends in near darkness. The church bells are rung today to announce the beginning of the service but are silent for the other two evenings.

In the sanctuary in about the place where the Epistle is sung is placed the Tenebrae hearse. The hearse, for the Roman rite, bears fifteen lighted candles of unbleached wax. The choir enters, seniores ante inferiores, and take their places and kneel to say Aperi, Domine. When the choir rises the sign of the Cross is made as the cantors intone the first antiphon of Mattins, Zelus domus tuae etc. This is sung in full and then the first psalm Salvum me fac, Deus is intoned by the cantors. At the end of the psalm (there is no Gloria Patri during the Triduum) the lowest candle on the Gospel side of the hearse is extinguished. Before the 1911-13 reform the chant books had a special cadence at the end of each psalm, a drop of a fourth, which presumably was an audible indication for the acolyte to extinguish a candle. Then the next antiphon is sung with its psalm etc. After the first three psalms there is a versicle and response and then all stand for a silent Pater noster. During the Triduum there are no absolutions and blessings at Mattins. The psalms of Mattins for Tenebrae on Mandy Thursday are really the first nine of the twelve ferial psalms from the pre-Pius X Breviary for Mattins. In the reformed Breviary they appear 'proper' but are in fact the ancient practice. They are: I nocturn: 68, 69, 70; II nocturn: 71, 72, 73; and III nocturn: 74, 75, 76.

Then follows the Lamentations of Jeremy the Prophet as first nocturn lessons. These are based on a Hebrew acrostic. The first verse thus begins with 'Aleph'. The verses have several special tones in plainsong and have been set to polyphony by various composers. The lessons are sung from a lectern medio chori. A responsory follows the first lessons as usual at Mattins. After the third responsory the second nocturn begins and has lessons from St. Augustine on the psalms. The third nocturn has lessons from St. Paul to the Corinthians on the foundation of the Holy Eucharist. At Tenebrae the Hebdomadarius does not chant the ninth lesson. At the end of Mattins the Tenebrae Hearse has five candles extinguished on the Gospel side and four on the Epistle side with six remaining lit candles.

Lauds follow immediately. The psalms sung at Lauds are Pss. 50, 89, 35, Cantemus Domino, 146. After each psalm of Lauds a further candle is extinguished so that after the last psalm only the candle on the summit of the hearse is still alight. After the last antiphon is repeated a versicle and response follow. Then the antiphon on the Benedictus is intoned, which for Mandy Thursday is Traditor autem dedit eis signum, dicens: Quem osculatus fuero, ispe est, tenete eum. The concept of the betrayal of Judas is key to the day. The plainsong for the Benedictus is the haunting tone 1g. During the last six verses each of the altar candles is extinguished beginning with the outside candle on the Gospel side. All other lamps in the church are now also extinguished. During the repetition of the antiphon the MC takes the candle from the hearse and places it on the mensa at the Epistle corner of the altar. All kneel and the choir now sings Christus factus est pro nobis obediens usque ad mortem. During this antiphon the MC hides the lit candle behind the altar. A Pater noster is now said in a low voice by all and then psalm 50, the Miserere is chanted in a subdued voice. This has been adapted by many composers into polyphonic masterpieces, perhaps the most famous being by Allegri. The Miserere was part of the ferial preces of Vespers until 1911-13. After the Miserere the collect Respice is chanted by the Hebdomadarius still kneeling. Then a strepitus or noise, is made traditionally by banging books against the stalls. On a practical point it is not a good idea to bang a valuable Holy Week book thus - use a '62 one for that purpose and bash it to death.

After the strepitus the MC brings forth the candle and returns this symbol of the light of Christ to the top of the hearse. It either remains there, or is extinguished or, what seems the better practice, is taken by the MC ahead the procession as the choir retires.

In the 'restored' rite found in the 'liturgical books of 1962' the symbolism of the service is completely and utterly lost as the service takes place in broad daylight tomorrow morning, except in Cathedral churches where the Chrism Mass is celebrated. Mattins, and Mattins only, not Lauds, is then anticipated in the Cathedral church due the the Chrism Mass the following morning - quite what one does with the remaining lit candles on the hearse and altar? Keen observers will see numeous celebrations advertised on the Web for Tenebrae in the evening supposedly under the auspices of Summorum Pontificum - more on that later.

Spy Wednesday Evening Tenebrae for Mandy Thursday

The photograph (of a photograph) above was taken on Spy Wednesday evening 1995 just before the singing of <i>Tenebrae </i>in the Union Debating Chamber of the University of Durham.  As the 'Glover Triduum' remains one the most remarkable Western liturgical experience to me, and to others, the series of photographs from nearly two decades ago will be used to illustrate the posts for the Triduum this year.

During the late afternoon of Spy Wednesday (following the practice in Rome), or in the early evening, the service of Tenebrae is sung. Tenebrae is Mattins and Lauds, as usual anticipated, of the following liturgical day but the Office of the Triduum shows signs of antiquity and has developed a ceremonial extinguishing of candles that mimetically represent the desertion of the LORD by his disciples and the days of darkness - hence the name. The wreckovators of the 1950s completely got this wrong - like so much else - and, following the rationalist ideas expressed by people such as the Jesuit Herbert Thurston in the early years of the twentieth century, decided the candles were merely extinguished as dawn was approaching and the psalmody of Lauds was more familiar so books were not needed. The consequence of these ideas is the spectacle of the new rite service of extinguishing candles at a service often starting at 10:00am in broad daylight - so much for the supposed 'correct' time of celebration of services! The definitive work on the time of Tenebrae A.J. MacGregor, 'Fire and Light in the Western Triduum', Alcuin Club Collection 71, 1992, demonstrates that Tenebrae was never celebrated in the daylight hours until the Pacellian deforms.

After Compline of Spy Wednesday the Palms that have decorated the church since Sunday are removed. The choir altar is vested in violet antependia and the Blessed Sacrament removed if It is present on the choir altar. The altar cross is veiled in violet and the candlesticks, the plainest set used on Good Friday, have six lighted candles of unbleached wax.

In Rome Tenebrae in the Papal Chapel was celebrated very early so the rays of the setting sun would pass through a window of the Sistine Chapel. The Caeremoniale Episcoporum mentions Tenebrae starting progressively later each day of the Triduum. In practice the service 'works best' if it at least ends in near darkness. The church bells are rung to announce the beginning of the service.

In the sanctuary in about the place where the Epistle is sung is placed the Tenebrae hearse. The hearse, for the Roman rite, bears fifteen lighted candles of unbleached wax. The choir enters, seniores ante inferiores, and take their places and kneel to say Aperi, Domine. When the choir rises the sign of the Cross is made as the cantors intone the first antiphon of Mattins, Zelus domus tuae etc. This is sung in full and then the first psalm Salvum me fac, Deus is intoned by the cantors. At the end of the psalm (there is no Gloria Patri during the Triduum) the lowest candle on the Gospel side of the hearse is extinguished. Before the 1911-13 reform the chant books had a special cadence at the end of each psalm, a drop of a fourth, which presumably was an audible indication for the acolyte to extinguish a candle. Then the next antiphon is sung with its psalm etc. After the first three psalms there is a versicle and response and then all stand for a silent Pater noster. During the Triduum there are no absolutions and blessings at Mattins. The psalms of Mattins for Tenebrae on Mandy Thursday are really the first nine of the twelve ferial psalms from the pre-Pius X Breviary for Mattins. In the reformed Breviary they appear 'proper' but are in fact the ancient practice. They are: I nocturn: 68, 69, 70; II nocturn: 71, 72, 73; and III nocturn: 74, 75, 76.

Then follows the Lamentations of Jeremy the Prophet as first nocturn lessons. These are based on a Hebrew acrostic. The first verse thus begins with 'Aleph'. The verses have several special tones in plainsong and have been set to polyphony by various composers. The lessons are sung from a lectern medio chori. A responsory follows the first lessons as usual at Mattins. After the third responsory the second nocturn begins and has lessons from St. Augustine on the psalms. The third nocturn has lessons from St. Paul to the Corinthians on the foundation of the Holy Eucharist. At Tenebrae the Hebdomadarius does not chant the ninth lesson. At the end of Mattins the Tenebrae Hearse has five candles extinguished on the Gospel side and four on the Epistle side with six remaining lit candles.

Lauds follow immediately. The psalms sung at Lauds are Pss. 50, 89, 35, Cantemus Domino, 146. After each psalm of Lauds a further candle is extinguished so that after the last psalm only the candle on the summit of the hearse is still alight. After the last antiphon is repeated a versicle and response follow. Then the antiphon on the Benedictus is intoned, which for Mandy Thursday is Traditor autem dedit eis signum, dicens: Quem osculatus fuero, ispe est, tenete eum. The concept of the betrayal of Judas is key to the day. The plainsong for the Benedictus is the haunting tone 1g. During the last six verses each of the altar candles is extinguished beginning with the outside candle on the Gospel side. All other lamps in the church are now also extinguished. During the repetition of the antiphon the MC takes the candle from the hearse and places it on the mensa at the Epistle corner of the altar. All kneel and the choir now sings Christus factus est pro nobis obediens usque ad mortem. During this antiphon the MC hides the lit candle behind the altar. A Pater noster is now said in a low voice by all and then psalm 50, the Miserere is chanted in a subdued voice. This has been adapted by many composers into polyphonic masterpieces, perhaps the most famous being by Allegri. The Miserere was part of the ferial preces of Vespers until 1911-13. After the Miserere the collect Respice is chanted by the Hebdomadarius still kneeling. Then a strepitus or noise, is made traditionally by banging books against the stalls. On a practical point it is not a good idea to bang a valuable Holy Week book thus - use a '62 one for that purpose and bash it to death.

After the strepitus the MC brings forth the candle and returns this symbol of the light of Christ to the top of the hearse. It either remains there, or is extinguished or, what seems the better practice, is taken by the MC ahead the procession as the choir retires.

In the 'restored' rite found in the 'liturgical books of 1962' the symbolism of the service is utterly and completely lost as it takes place in broad daylight tomorrow morning, except in Cathedral churches where the Chrism Mass is celebrated. Mattins, and Mattins only, not Lauds, is anticipated in Cathedral churches due the the Chrism Mass the following morning - quite what one does with the remaining lit candles on the hearse and altar?

Spy Wednesday Evening - Tenebrae for Mandy Thursday

The photograph (of a photograph) above was taken on Spy Wednesday evening 1995 just before the singing of Tenebrae in the Union Debating Chamber of the University of Durham.

During the late afternoon of Spy Wednesday (following the practice in Rome), or in the early evening, the service of Tenebrae is sung. Tenebrae is Mattins and Lauds, as usual anticipated, of the following liturgical day but the Office of the Triduum shows signs of antiquity and has developed a ceremonial extinguishing of candles that mimetically represent the desertion of the LORD by his disciples and the days of darkness - hence the name. The wreckovators of the 1950s completely got this wrong and, following the rationalist ideas expressed by people such as the Jesuit Herbert Thurston in the early years of the twentieth century, decided the candles were merely extiguished as dawn was approaching. So no there is the spectacle in the new rite service of extinguishing candles at a service often starting at 10:00am in broad daylight - so much for the supposed 'correct' time of celebration of services! The definitive work on the time of Tenebrae A.J. MacGregor, 'Fire and Light in the Western Triduum', Alcuin Club Collection 71, 1992, demonstrates that Tenebrae was never celebrated in the daylight hours until the Pacellian deforms.

After Mass after None the Palms that have decorated the church since Sunday are removed. The choir altar is vested in violet antependia and the Blessed Sacrament removed if It is present on the choir altar. The altar cross is veiled in violet and the candlesticks, the plainest set used on Good Friday, have six lighted candles of unbleached wax.

In Rome Tenebrae in the Papal Chapel was celebrated very early so the rays of the setting sun would pass through a window of the Sistine Chapel. The Caeremoniale Episcoporum mentions Tenebrae starting progressively later each day of the Triduum. In practice the service 'works best' if it at least ends in near darkness.

In the sanctuary in about the place where the Epistle is sung is placed the Tenebrae hearse. The hearse, for the Roman rite, bears fifteen lighted candles of unbleached wax. The choir enters, seniores ante inferiores, and take their places and kneel to say Aperi, Domine. When the choir rises the sign of the Cross is made as the cantors intone the first antiphon of Mattins, Zelus domus tuae. This is sung in full and then the first psalm Salvum me fac, Deus intoned by the cantors. At the end of the psalm (there is no Gloria Patri during the Triduum) the lowest candle on the Gospel side of the hearse is extinguished. Before the 1911-13 reform the chant books had a special cadence at the end of each psalm, a drop of a fourth, which presumably was an audible indication for the acolyte to extinguish a candle. Then the next antiphon is sung with its psalm etc. After the first three psalms there is a versicle and response and then all stand for a silent Pater noster. During the Triduum there are no absolutions and blessings at Mattins. The psalms of Mattins for Tenebrae on Mandy Thursday are really the first nine of the twelve ferial psalms from the pre-Pius X Breviary for Mattins. In the reformed Breviary they appear 'proper' but are in fact the ancient practice. They are: I nocturn, 68, 69, 70; II nocturn, 71, 72, 73; III nocturn, 74, 75, 76.

Then follows the Lamentations of Jeremy the Prophet as first nocturn lessons. These are based on a Hebrew acrostic. The first verse thus begins with 'Aleph'. The verses have several special tones in plainsong and have been set to polyphony by various composers. The lessons are sung from a lectern medio chori. A responsory follows the first lessons as usual at Mattins. After the third responsory the second nocturn begins and has lessons from St. Augustine on the psalms. The third nocturn has lessons from St. Paul to the Corinthians on the foundation of the Holy Eucharist. At Tenebrae the Hebdomadarius does not chant the ninth lesson. At the end of Mattins the Tenebrae Hearse has five candles exstinguished on the Gospel side and four on the Epistle side with six remaining lit candles.

Lauds follow immediately. The psalms sung at Lauds are Pss. 50, 89, 35, Cantemus Domino, 146. After each psalm of Lauds a further candle is extinguished so that after the last psalm only the candle on the summit of the hearse is still alight. After the last antiphon is repeated a versicle and response follow. Then the antiphon on the Benedictus is intoned, for Maundy Thursday this is Traditor autem dedit eis signum, dicens: Quem osculatus fuero, ispe est, tenete eum. The concept of the betrayal of Judas is key to the day. The plainsong for the Benedictus is the haunting tone 1g. During the last six verses each of the altar candles is exstinguished beginning with the outside candle on the Gospel side. All other lamps in the church are now also extinguished. During the repetition of the antiphon the MC takes the candle from the hearse and places it on the mensa at the Epistle corner of the altar. All kneel and the choir now sings Christus factus est pro nobis obediens usque ad mortem. During this antiphon the MC hides the lit candle behind the altar. A Pater noster is now said in a low voice by all and then psalm 50, the Miserere is chanted in a subdued voice. This has been adapted by many composers into polyphonic masterpieces, perhaps the most famous being by Allegri. The Miserere was part of the ferial preces of Vespers until 1911-13. After the Miserere the collect Respice is chanted by the Hebdomadarius, still kneeling. Then a strepitus, or noise, is made traditionally by banging books against the stalls. On a practical point it is not a good idea to bang a valuable Holy Week book thus - use a '62 one for that purpose.

After the strepitus the MC brings forth the candle and returns this symbol of the light of Christ to the top of the hearse. It either remains there, or is extinguished or, what seems the better practice, is taken by the MC ahead the procession as the choir retires.

In the 'restored' rite found in the 'liturgical books of 1962' the symbolism of the service is utterly and completely lost as it takes place in broad daylight tomorrow morning, except in Cathedral churches where the Chrism Mass is celebrated. The rubrics in the Ordo Hebdomadae Instauratus could not be more clear, but seems to have little bearing on modern 1962 praxis. The rubric in question reads "Matutinum et Laudes non anticipantur de sero, sed dicuntur mane, hora competenti; in ecclesiis vero, in quibus missa chrismatis celebratur, Matutinum et Laudes anticipari possunt de sero;" What is difficult, if one is ostensibly following the new order about that?

Here is a photograph taken from 'The Tablet' from 1962 advertising services at Westminster Cathedral.

Mattins, and Mattins only, not Lauds, was anticipated at the Cathedral due the the Chrism Mass the following morning - quite what one does with the remaining lit candles on the hearse and altar? Many supporters of the 'Extraordinary Form' like to maintain that Canon Law in force in 1962 still applies to the 'EF'. So why then do we have Tenebrae celebrated this evening in churches which do not have the Chrism Mass celebrated? The Web reveals many celebrations this evening across the world where 'What the Vicar likes' trumps! Following the liturgical books of 1962' the Miserere is omitted at the end of the service as is the strepitus, except of course, if it is 'What the Vicar likes' then sod Canon Law or the rubrics, let's feel a fuzzy glow and feel superior!

Mandy Thursday Evening Tenebrae for Good Friday

At the usual time Compline is recited on a monotone, as the Little Hours this morning. Again its form is absolute simplicity beginning with the Confiteor and the usual psalms, Nunc dimittis and then Christus factus est, Miserere and Respice as at the other Hours. At Compline this evening only Christus factus est pro nobis obediens usque ad mortem is said as it is still part of the Office of Mandy Thursday.

Tenebrae for Good Friday follows Compline, or after a short gap. In practice Compline can be chanted in the time it takes to light the altar candles and candles on the Tenebrae hearse. The service of Tenebrae is structurally the same as that sung for Mandy Thursday and the differences will be noted.

The choir altar is as it was after stripping this morning with six candlesticks and altar Cross veiled now in black (preferably) or violet. At Mattins the first antiphon is Astiterunt reges. The psalms are strictly proper: in the first nocturn Pss. 2, 21 & 26; in the second nocturn Pss. 37, 39 & 53; and, in the third nocturn Pss. 58, 87 & 93. After the last verse of each psalm a candle is exstinguished on the hearse. The Lamentations of Jeremy form the first nocturn lessons. The second nocturn lessons are again from St. Augustine on the psalms and in the third nocturn from St. Paul to the Hebrews.

Lauds follow from Mattins beginning with the antiphon Proprio Filio suo etc. Psalms 50, 142, 84, Domine audivi auditionem & 147. The antiphon on the Benedictus is Posuerunt super caput ejus etc, sung to the same tone as last night and doubled. Exactly the same ceremonies take place as last night. When the Christus factus est is sung Mortem autem crucis is added.

After Tenebrae in Cathedral and larger churches the Ceremonial Washing of the Altars takes place. The bare mensae ar ewashed with a mixture of water and wine and the surface scoured with brushes and dried with towels whilst Diviserunt and psalm 21 is monotoned. After this service Christus factus est ... Mortem autem crucis is added.



In the 1962 liturgical books 'Tenebrae' is celebrated tomorrow morning. According to the rubrics there are no candlesticks on the altar at all. Of course, on the principle of 'What the Vicar likes' candlesticks appear in many places.

Spy Wednesday Evening Tenebrae for Mandy Thursday

In conversation with a friend of long-standing on Passion Sunday my friend remarked on the superlative nature of the 'Glover Triduum' and how he had not witnessed anything like it since its sad demise. Again this year the posts of the Triduum will be illustrated with photographs from the Rev. Dr. Thomas Glover, JCD's Triduum which took place in the North of England from the early 1980's until 1995. The photograph (of a photograph) above was taken on Spy Wednesday evening 1995 just before the singing of Tenebrae in the Union Debating Chamber of the University of Durham. Dr. Glover, who I am delighted to count as a good friend, celebrated the full Office of the Triduum, including the Horae Minores but with the exception of the Mandatum. I would agree wholeheartedly with my learned and esteemed friend that it was a unique experience, and for me, a formative one.

During the late afternoon of Spy Wednesday (following the practice in Rome), or in the early evening, the service of Tenebrae is sung. Tenebrae is Mattins and Lauds, as usual anticipated, of the following liturgical day but the Office of the Triduum shows signs of antiquity and has developed a ceremonial extinguishing of candles that mimetically represent the desertion of the LORD by his disciples and the days of darkness - hence the name. The wreckovators of the 1950s completely got this wrong and, following the rationalist ideas expressed by people such as the Jesuit Herbert Thurston in the early years of the twentieth century, decided the candles were merely extiguished as dawn was approaching. So there is now the spectacle in the new rite service of extinguishing candles at a service often starting at 10:00am! The definitive work by A.J. MacGregor, 'Fire and Light in the Western Triduum', Alcuin Club Collection 71, 1992 demonstrates that Tenebrae was never celebrated in the daylight hours.

The altar is vested in violet antependia and the Blessed Sacrament removed if It is present on the choir altar. The altar cross is veiled in violet and the candlesticks, the plainest set used on Good Friday, have six lighted candles of unbleached wax.

In Rome Tenebrae in the Papal Chapel was celebrated very early so the rays of the setting sun would pass through a window of the Sistine Chapel. The Caeremoniale Episcoporum mentions Tenebrae starting progressively later each day of the Triduum. In practice the service 'works best' if it at least ends in near darkness.

In the sanctuary in about the place where the Epistle is sung is placed the Tenebrae hearse. The hearse, for the Roman rite, bears fifteen lighted candles of unbleached wax. The choir enters, seniores ante inferiores, take their places and kneel to say Aperi, Domine. When the choir rises the sign of the Cross is made as the cantors intone the first antiphon of Mattins, Zelus domus tuae. This is sung in full and then the first psalm Salvum me fac, Deus intoned. At the end of the psalm (there is no Gloria Patri during the Triduum) the lowest candle on the Gospel side of the hearse is extinguished. Before the 1911-13 reform the chant books had a special cadence at the end of each psalm, a drop of a fourth, which presumably was an audible indication for the acolyte to extinguish a candle. Then the next antiphon is sung with its psalm etc. After the first three psalms there is a versicle and response and then all stand for a silent Pater noster. During the Triduum there are no absolutions and blessings at Mattins. The psalms of Mattins for Tenebrae on Mandy Thursday are really the first nine of the twelve ferial psalms from the pre-Pius X Breviary for Mattins. In the reformed Breviary they appear 'proper' but are in fact the ancient practice. They are: I nocturn, 68, 69, 70; II nocturn, 71, 72, 73; III nocturn, 74, 75, 76.

Then follows the Lamentations of Jeremy the Prophet as first nocturn lessons. These are based on a Hebrew acrostic. The first verse thus begins with 'Aleph'. The verses have several special tones in plainsong and have been set to polyphony by various composers. The lessons are sung from a lectern medio chori. A responsory follows the first lessons as usual at Mattins. After the third responsory the second nocturn begins and has lessons from St. Augustine on the psalms. The third nocturn has lessons from St. Paul to the Corinthians on the foundation of the Holy Eucharist. At Tenebrae the Hebodomadarius does not chant the ninth lesson. At the end of Mattins the Tenebrae Hearse has five candles exstinguished on the Gospel side and four on the Epistle side with six remaining lit candles.

Lauds follow immediately. The psalms sung at Lauds are Pss. 50, 89, 35, Cantemus Domino, 146. After each psalm of Lauds a further candle is extinguished so that after the last psalm only the candle on the summit of the hearse is still alight. After the last antiphon is repeated a versicle and response follow. Then the antiphon on the Benedictus is intoned, for Maundy Thursday this is Traditor autem dedit eis signum, dicens: Quem osculatus fuero, ispe est, tenete eum. The concept of the betrayal of Judas is key to the day. The plainsong for the Benedictus is the haunting tone 1g. During the last six verses each of the altar candles is exstinguished beginning with the outside candle on the Gospel side. All other lamps in the church are now also extinguished. During the repetition of the antiphon the MC takes the candle from the hearse and places it on the mensa at the Epistle corner of the altar. All kneel and the choir now sings Christus factus est pro nobis obediens usque ad mortem. During this antiphon the MC hides the lit candle behind the altar. A Pater noster is now said in a low voice by all and then psalm 50, the Miserere is chanted in a subdued voice. This has been adapted by many composers into polyphonic masterpieces, perhaps the most famous being by Allegri. The Miserere was part of the ferial preces of Vespers until 1911-13. After the Miserere the collect Respice is chanted by the Hebdomadarius, still kneeling. Then a strepitus, or noise, is made traditionally by banging books against the stalls. On a practical point it is not a good idea to bang a valuable Holy Week book thus - use a '62 one for that purpose.

After the strepitus the MC brings forth the candle and returns this symbol of the light of Christ to the top of the hearse. It either remains there or is taken by the MC ahead the procession as the choir processes out of the sanctuary.

In the 'restored' rite found in the 'liturgical books of 1962' the symbolism of the service is completely lost as it takes place in broad daylight tomorrow morning, except in Cathedral churches where the Chrism Mass is celebrated. The rubrics in the Ordo Hebdomadae Instauratus could not be more clear, but seems to have little bearing on modern 1962 praxis. The rubric in question reads "Matutinum et Laudes non anticipantur de sero, sed dicuntur mane, hora competenti; in ecclesiis vero, in quibus missa chrismatis celebratur, Matutinum et Laudes anticipari possunt de sero;" What is difficult, if one is ostensibly following the new order about that?

Here is a photograph taken from 'The Tablet' from 1962 advertising services at Westminster Cathedral.

Mattins, and Mattins only, not Lauds, was anticipated at the Cathedral due the the Chrism Mass the following morning - quite what one does with the remaining lit candles on the hearse and altar? Many supporters of the 'Extraordinary Form' like to maintain that Canon Law in force in 1962 still applies to the 'EF'. So why then do we have Tenebrae celebrated this evening in churches which do not have the Chrism Mass celebrated? The Web reveals many celebrations this evening some examples being here, here, and here.

Following the 'liturgical books of 1962' the Miserere is omitted at the end of the service as is the strepitus, except of course, if it is 'What the Vicar likes'.

Holy Saturday Evening - Paschal Mattins and Lauds

The high point of Holy Week in most medieval rites, and certainly in the Byzantine rite to this day, was the celebration of Paschal Mattins - Mattins of the Resurrection of the LORD.

In typical Northern European praxis, such as Sarum, the Lenten array was removed from the statues and images after Compline on Holy Saturday. Before the bells rang out in triumphant peals of joy to announce the Resurrection the clergy and people went to the Sepulchre and there the Tomb was opened and the Cross was 'raised' to the singing of the antiphon Christus resurgens. A ceremony of adoration of the Cross, just as on Good Friday morning, took place before a triumphal procession around the church. Rather interestingly examples of such liturgical orthopraxis continue in parts of Europe to this day despite the liturgical heteropraxis of the last century.

An example from contemporary Germany (Heilege Grab - the Holy Grave) may be found here . Of course, in modern times the idea of Easter Sepulchres hasevolved into the 'Easter Garden'. Last year a friend from Poland for sent me this synopsis of Polish Sepulchres. Of pariticular note is that the Polish editions of the liturgical books had 'depositio' ceremonies and the corresponding 'elevatio' ones printed as part of the rites until very recently (e.g. Cantionale Ecclesiasticum, Cracow, 1925 in my collection).

In the 'modern' Roman rite Paschal Mattins was generally noticeable by its lack of celebration. Westminster Cathedral, of course, in better days, celebrated Pontifical Paschal Mattins and Lauds at 5:30pm on Holy Saturday evening.


(This extract is from the timetable of Holy Week services for 1939. The full programme may be seen here.)

Compline is sung, at the normal time. On Holy Saturday the Office of Compline has some interesting variations. Compline begins with the usual Jube, domne, blessing, short lesson and confession. Converte nos, Deus, salutaris noster and its response are sung followed by Deus in adjutorium etc with Alleluia for the first time since Septuagesima. The psalms are sung, without an antiphon, to a special form of tone 2. The hymn, chapter and responsory are omitted and Vespere autem sabbati sung as a fragment antiphon to the Nunc dimittis. After the Canticle the antiphon is sung in full. After the usual collect, Visita quaesumus, the antiphon Regina Caeli is sung with its versicle and collect.

The church is decorated for the greatest of feasts. Six candlesticks are on the altar. Mattins begin with the solemn tone for Deus in adjutorium etc. The invitatory is Surrexit Dominus vere Alleluia and psalm 94 is sung to a lovely tone 6. Mattins consists of one nocturn of three psalms. There is no Office Hymn throughout the Octave (c.f. Monastic praxis). The first antiphon is Ego sum qui sum etc and sung with psalm 1. The second antiphon, Postulavi Patrem meum etc, is sung with psalm 2. The third antiphon, Ego dormivi etc, is sung with psalm 3. A versicle and its response are sung follwed by the absolution Exaudi etc. The first lesson has the Gospel fragment Mark 16: 1-7 and is followed by a homily of St. Gregory the Great. The two responsories Angelus Domini descendit and Cum transisset sabbatum are famous and intimately connected with the Quem quaeritis ceremonies and indeed the development of Western drama (vide the excellent book: Hardison, O.B., 'Christian Rite and Christian Drama in the Middle Ages', The John Hopkins Press, Baltimore, 1965).

The second lesson, Notandum vero nobis est is sung followed by the second responsory. During the second responsory the cantors and the celebrant don copes the principal one pre-intones the Te Deum. Six pluvialistae assist the Hebdomadarius where possible. The Te Deum is then sung and, where it is the custom the bells ring throughout.

Lauds follow immediately and have a series of beautiful antiphons: Angelus autem Domini, Et ecce terraemotus, Erat autem, Prae timore autem ejus and Respondens autem Angelus all taking up the theme of the Angels, earthquake and empty tomb. Psalms 92, 99, 62, Benedicite & 148 are sung with these antiphons. The chapter, hymn, versicel and response are replaced by the Haec dies. If one has the opportunity listen to the setting by the English composer John Sheppard do so (Hyperion CDD22021). After Haec dies the antiphon Et valde mane is sung and then the Benedictus sung to a solemn tone 8. During the Benedictus the altar, the choir and people are censed in the normal manner. The antiphon is repeated and the collect of Easter, Deus, qui hodierna die sung. Benedicamus Domino, Alleluia, Alleluia and its response are followed by the solemn Regina Caeli, its versicle and collect.

In the Byzantine rite the Lucernarium rite from Vespers migrated to the beginning of Mattins about a millenium ago. Those interested in the details should consult Bertoniere, G., 'The Historical Development of the Easter Vigil and Related Services in the Greek Church', Orientalia Christiana Analecta 193, Rome, 1972. In the Byzantine Rite on Holy Saturday morning Vesperal Liturgy is celebrated with fifteen OT prophecies (or four in the Greek version) and a colour change from black to white before the Gospel. Seven of the prophecies and the Gospel are as used in the Old Roman Rite. Late in the evening of Holy Saturday Paschal Mattins begins. In the Slavonic version a triple candle is used to pass the Light of the Risen Christ and is used throughout Bright Week at the Office and Eucharistic Liturgy.



The above two photographs are taken from the website of St. Elisas Byzantine Catholic Church in Ontario. To all Eastern rite readers: Khristos Voskresie!

In the 'liturgical books of 1962' Compline and Mattins have been axed, perhaps with regards to Mattins, the most pernicious and shameful cut of all.

How to...Mattins (2)

Today is Saturday in the first week of Advent. The day is of simple rite and as such its Mattins consist of one nocturn and three lessons.

The Breviary needs to be marked in two or three places for Mattins: Sabbato ad Matutinum, Saturday of the first week in Advent for the lessons and the Ordinarium depending on the layout of the particular edition being used.

Mattins begins with the prayer Aperi Domine followed by the inaudible recitation of Pater noster, Ave Maria and Credo. Then the versicle Domine, labia mea aperies (with the Sign of the Cross made on the lips) and its response Et os meum annuntiabit laudem tuam. Turning now to the section Sabbato ad Matutinum the invitatories for Advent are given. For the first and second weeks this is Regem venturum Dominum * Venite adoremus. This is said in its entirety, then repeated and followed by the first part of Ps. 94 Venite, exsultemus Domino etc found in Ordinarium. The invitatory is then, again, repeated in its entirety. The next section of the psalm is then said Quoniam Deus magnus etc. After that the fragment of the invitatory, Venite adoremus, only. Then the next part of the psalm Quoniam ipse est mare etc followed by the entire invitatory. Next Hodie si vocem etc followed by the fragment, then Quadraginta annis followed by the entire invitatory. Then the Lesser Doxology, fragment of the invitatory and, finally, the entire invitatory is said again.

The hymn Verbum supernum prodiens is then said.

Now the nocturn is said. The first antiphon given for Sabbato ad Matutinum, Memor fuit, is said only as far as the asterisk, i.e. Memor fuit in saeculum. This is because today is not of double rank. Then the first psalm, Ps 104(i) Confitemini Domino is said. Then the lesser Doxology and the antiphon in its entirety is repeated, Memor fuit in saeculum testamenti sui Dominus, Deus noster. Then the second antiphon as far as the asterisk, the second psalm, Lesser Doxology and the antiphon in its entirety. This arrangement is repeated for the third psalms and its antiphon.

After the repitition of the third antiphon unlike in Mattins of nine lessons the versicle and response etc is NOT said here. Instead the antiphon fragment of the fourth psalm, Salvavit eos Dominus is said. Then follows the fifth antiphon and psalm followed by the sixth. After the repitition of the sixth psalm again the versicle and response etc are not said but the fragment of the seventh antiphon. Then the seventh psalm etc, the eighth and ninth. After the repitition of the ninth antiphon, Videbunt recti etc then an antiphon and versicle are said. The antiphon is that for the ferial office of Advent Egredietur Dominus and its response Veniet. Then is said the Pater noster, inaudibly, followed by the versicle Et ne nos inducas in tentationem and the response Sed libera nos a malo.

Then is said the absolution A vinculis etc followed by Jube, domne and the first blessing Ille nos benedicat. (The blessings vary according to whether Mattins has three or nine lessons, whether it is a feast of the BVM or Saint, and whether a Gospel fragment is read or not. Which blessing is said when is easily learnt with practice). Then turning to Saturday of the first week of Advent the first lesson is Et factum est in diebus Achaz etc followed by its responsory Ecce virgo concipiet. After the responsory again Jube, domne and the second blessing Divinum auxillium etc. Then the second lesson is said Et dices ad eum followed by its responsory Audite verbum. Then again Jube domne and the third blessing Ad societatem etc and the third lesson Et adjecit Dominus etc. Unlike on a feast, or in Paschaltide, at ferial Mattins the Te Deum is not said. In its place a third (or ninth) responsory follows. For today this is Ecce dies veniunt.

After the third responsory Lauds follow. (In private recitation, if Lauds are not said, the ending of Mattins is as given in the first example here with the collect of the first Sunday of Advent being used.)

How to...Mattins (I)

This post in the series of 'How to' will look at Mattins. Mattins is one of the three 'Great Hours' and the only Office in the Roman rite still to contain extensive passages of scripture and writings from the Fathers.

Mattins basically consists of units of psalmody and readings. The units were originally called vigils and later nocturns. Mattins can be either of three nocturns or a single nocturn depending on the liturgical day being celebrated. Each nocturn consists of three lessons so often, particularly when looking at pre-Trent liturgy, one sees references to feasts of three or nine lessons (in such times whether a feast had three or nine lessons was used in the classification system then in use, often with the additional qualification of whether the feast was 'ruled' or not). In the modern Roman rite doubles and semi-doubles have three nocturns at Mattins made up of nine psalms and nine lessons (with the exception of the feast of Easter and Pentecost and their Octaves) and simple feasts and ferial days have one nocturn consisting of nine psalms and three lessons.

The greater-double feast of St. Francis Xavier will be our first example. A Breviary will need to be marked in four or even five places: 'Feria quinta ad Matutinum', Thursday of the first week of Advent, the texts for St. Francis Xavier given on December 3rd and the 'Common of a Confessor non-bishop'. Depending on the layout of the Breviary one may need to also refer to the very beginning section Ordinarium divini Offici ad Matutinum (when more familiar with the texts the latter will not need to be referred to).

The prayer Aperi Domine etc is said followed by the inaudible recital of Pater noster, Ave Maria and Credo. Mattins then begins with the versicle Domine, labia mea aperies (with the Sign of the Cross made on the lips) and its response Et os meum annuntiabit laudem tuam. This is followed by the usual introductory rites of Deus in adjutorium, Lesser Doxology and Alleluia (all very familiar of course to those acquainted with Choral Evensong - Abp. Cranmer was very good at 'cut and paste'). Turning now to the Common the invitatory, Regem Confessorum Dominum, Venite adoremus, is said and then repeated. Then the first part of Ps. 94 Venite, exsultemus Domino etc found in the Ordinarium. The invitatory is then repeated. The next section of the psalm is then said Quoniam Deus magnus etc. After that the fragment of the invitatory from the * is said: Venite adoremus (only). Then the next part of the psalm Quoniam ipse est mare etc followed by the entire invitatory. Next Hodie si vocem etc followed by the fragment, then Quadraginta annis followed by the entire invitatory. Then the Lesser Doxology, fragment of the invitatory and, finally, the entire invitatory is said again.

Then the hymn, Iste Confessor, is said.

We now move into the first nocturn. The psalmody comes from the ferial psalter. So, turning to Feria quinta ad Matutinum, we begin with the entire (as it is a double feast) antiphon In Deo salutare meum, et gloria mea: et spes mea in Deo est. Then Ps. 61, Lesser Doxology and the antiphon is repeated. This arragement is repeated for the next psalm-fragment 65(i) and after that 65(ii). After the last antiphon, Audite, omnes...suam a me, is repeated as it is a feast of nine lessons the versicle Non amovit is said with its response Et misericordiam. Pater noster is then said inaudibly followed by Et ne nos inducas in tentationem and its response Sed libera nos a malo. Then is said the absolution Exaudi, Domine Jesu Christi etc. (The full texts of all the absolutions and blessings are found in Ordinarium section.) Then Jube, domne (or Domine in private recitation) benedicere and the blessing before the first Lesson, Benedictione perpetua etc. (When Breviaries were printed most included a separate sheet with the Venite, absolutions and blessings along with the Te Deum which could be moved around for convenience of the user).

The first nocturn, scriptural, lessons are taken from Thursday of the first week of Advent. The first lesson is Et apprehendent septem mulieres (from Isaiah). At the end of each lesson is said Tu autem Domine, miserere nobis and the response Deo gratias. This is followed by the first responsory Suscipe verbum. Then Jube domne, the next blessing Unigenitus, the second lesson Cantabo dilecto etc followed by the second responsory Aspicebam in visu noctis. Then Jube again and the third blessing Spiritus sancti. Then follows the third lesson Et nunc ostendam etc and then the third responsory Missus est Gabriel. That completes the first nocturn.

Now for the second nocturn. We turn back to 'Feria quinta ad Matutinum' and have another three antiphons and three psalm-fragments: Exsurgat Deus...inimici ejus followed by Ps 67(i), Lesser Doxology, Exsurgat Deus...inimici ejus, then Deus noster...exitus mortis followed by Ps 67(ii), Lesser Doxology, Deus noster...exitus mortis, then In ecclesiis...Domino Deus followed by Ps 67(iii), Lesser Doxology, In ecclesiis...Domino Deus. After the psalmody the versicle Mirabilis Deus and its response Deus Israel. Then, as in the first nocturn, a Pater noster inaudibly until Et ne nos etc. The absolution for the second nocturn is Ipsius pietas etc.

Then, turning to the texts for St. Francis Xavier on December 3rd, Jube domne and the blessing Deus Pater etc. The fourth lesson is Franciscus etc, then the responsory Honestum fecit. Then Jube domne and the blessing Christus etc and the fifth lesson Vitae austeritate etc and its responsory Amavit eum. After that Jube domne, the blessing Ignem etc and the sixth lesson Hunc dilatandi etc and its responsory Iste homo. That concludes the second nocturn.

Lastly, to the third nocturn. We turn back again to 'Feria quinta ad Matutinum' and have the last three antiphons and three psalm-fragments: Salvum me fac...animam meam, Ps 68(i), Lesser Doxology, Salvum me fac...animam meam, then Propter inimicos...Domine, Ps 68(ii), Lesser Doxology, Propter inimicos...Domine, and finally Quaerite...anima vestra, Ps 68(iii), Lesser Doxology, Quaerite...anima vestra. Then the versicle Laudabo and its response Et magnificabo. Then, as in the previous two nocturns, a Pater noster inaudibly until Et ne nos etc. The absolution for the third nocturn is A vinculis etc.

Turning back to the texts for St. Francis Xavier. Ignore the short lesson preceded by the rubric Si hoc Festum ad instar Simplicis redigatur etc. The seventh lesson is the Gospel fragment from St. Mark. Jube domne, the blessing Evangelica etc then the Gospel fragment and St. Gregory's homily Potest omnis creaturae etc. After the lesson the seventh responsory Iste est. Then Jube domne, the blessing Cujus festum colimus etc and the lesson Neque etenim etc and its responsory Sint lumbi. Then Jube domne and the final blessing Ad societatem etc followed by the ninth lesson Signa autem etc. After the ninth lesson, as today is a feast, the Te Deum is said instead of a ninth responsory.

In Choral Office Mattins is never separated from Lauds, except as noted above at Christmas. In private recitation, and to complete this example, the hour concludes Dominus vobiscum etc, Domine exaudi orationem meam etc, Oremus followed by the collect of the day, Dominus vobiscum etc, Benedicamus Domino and its response Deo gratias, the versicle Fidelium animae and an inaudible Pater noster.

So that is Mattins for a feast of nine lessons. It looks more complex than it really is and the above took longer to think and type than it would take to say Mattins. With practice the absolutions and blessings become part of liturgical consciousness and the Office less 'fiddlesome' than it at first appears. The next example will be a ferial Office of three lessons.

Paschal Mattins and the Octave

The high point of Holy Week in most medieval rites, and certainly in the Byzantine rite to this day (or, to be pedantic, this Saturday evening!) was the celebration of Paschal Mattins - Mattins of the Resurrection of the LORD.

In typical English praxis, such as Sarum, the Lenten array was removed from the statues and images after Compline on Holy Saturday. Before the bells rang out for Mattins the clergy went to the Sepulchre and then the Cross was 'raised' to the singing of the antiphon Christus resurgens. A ceremony of adoration of the Cross, just as on Good Friday morning, took place before a triumphal procession around the church. I shall write some more about the ceremonies of 'elevatio' in due course but it is interesting to note that they still take place, despite the liturgical heteropraxis of the last sixty years, in part of Eastern Europe. An example from contemporary Germany (Heilege Grab - the Holy Grave) may be found here and I am grateful to a friend from Poland for sending me this synopsis of Polish Sepulchres. Of pariticular note is that the Polish editions of the liturgical books had 'depositio' ceremonies and the corresponding 'elevatio' ones printed as part of the rites until very recently (e.g. Cantionale Ecclesiasticum, Cracow, 1925 in my collection).

Roman rite Mattins was sung on Saturday evening (and of course on other days within the Octave). The solemn tone is used for Deus in adjutorium. The invitatory is Surrexit Dominus vere Alleluia and psalm 94 is sung to a lovely tone 6. Mattins consists of one nocturn. The Gospel fragment is St. Mark 16: 1-7 and is followed by a homily of St. Gregory the Great. The two responsories Angelus Domini descendit and Cum transisset sabbatum are famous and intimately connected with the Quem quaeritis ceremonies and indeed the development of Western drama (vide the excellent book: Hardison, O.B., 'Christian Rite and Christian Drama in the Middle Ages', The John Hopkins Press, Baltimore, 1965). During the second responsory the cantors and the celebrant don copes the principal one pre-intones the Te Deum. The Te Deum is then sung and, where it is the custom the bells ring throughout. Lauds follow immediately and have a series of beautiful antiphons: Angelus autem Domini, Et ecce terraemotus, Erat autem, Prae timore autem ejus and Respondens autem Angelus all taking up the theme of the Angels, earthquake and empty tomb. The chapter, hymn, versidel and response are replaced by the Haec dies. If one has the opportunity listen to the setting by the English composer John Sheppard do so (Hyperion CDD22021). After Haec dies the altar is censed in the usual manner at the Benedictus and the solemn Regina Caeli sung at the end of Lauds.

The Hours for Pascha and its octave have a special form. They do not have antiphons but the psalms are sung to a haunting Tone2. Again the hymn etc. are replaced by. At Prime the Martyrology is resumed after its absence during the Triduum. Before the entries for the following day the following is sung to the Passion tone: Hac die, quam fecit Dominus, Solemnitas solemnitatum, et Pascha nostrum: Resurrectio Salvatoris nostri Jesu Christi secundum carnem. The day, moon etc then are announced as normal.

Mass follows Terce. At the aspersion Vidi aquam is sung and water taken from the font the previous day used. At Mass the Gloria is sung, the sequence Victimae Paschali precedes the Gospel, the Credo is sung, the Paschal preface and the Communicantes and Hanc igitur are proper.

Vespers are of the feast with the same antiphons as sung at Lauds. In many uses a procession was made to the font during Vespers and it is common to find texts in books marked ad fontes. Somewhat ironically the editio typica of the Caeremoniale Episcoporum published in 1985 has a rubric (371) authorising Baptismal Vespers where it is the custom although no texts are given. There is evidence that in Rome a particularly solemn form of Baptismal Vespers took place with some antiphons so ancient they were never translated from the original Greek.

Both Monday and Tuesday in the Octave are doubles of the first class and the liturgy is essentially the same as that of Sunday with proper texts. Wednesday, Thursday, Friday and Saturday are semidouble days within a privileged octave. The antiphons are not doubled at Mattins, Lauds and Vespers and at Mass the second collect is for the Church or of an occurring feast.