Monday, August 2, 2010

The Reform of the Reform what is it?

This blog will be now devoted to the Reform of the Reform as 1. I most commonly serve the solemn form of the ordinary form (OF) of the Roman Rite and 2. there are enough blogs focussing on the Extraordinary Form.


There is a good article on the New Liturgical Movement describing the various forms of the Reform-of-the-Reform movement. There are 2 main camps 1. those that see the 1962 Missal as the starting point and 2. those who see the 1970 Missal as the starting point.


3 years after Summorum Pontificum, we see more flexibility in the EF and opportunities to be celebrated but it has not exactly caught on like wildfire. Locally it simply has meant that pre-existing traditionalist communities now have the opportunity to attend weekday Masses as well as a Sunday Mass in the older form, but the movement has certainly not spread to other parishes. This is a due to largely to an attitude that the OF is "good enough for us" and the lack of priests with the skills and interest in serving the older form. With the church being controlled by people who were around at Vatican II, there is a lot of hostility towards this form. This will die off as that generation dies off but it will take a long time.


I follow the second school of thought - of the Mass of 1970 being the starting point. As Bishop Elliot remarked at the Altar Server Conference in Melbourne in January 2008 it is about "reconnecting the reform with the tradition". There is nothing doctrinally unsound in the OF Mass; some elements may be submerged in it but that is the same as the EF Mass. Although there was a certain amount of "Modern thinking" rather than Modernism (Elliot: Jan 2008) in the Novus Ordo Missae, it reflects the faith expressed in the Catechism.


So we start from what is the problem and then how do we re-align it so that it reflects better our real relationship to God.


The first issue is that society has lost all sense of liturgy. You just see how people behave at Weddings and Baptisms, they really have no idea. - and these are "Catholics"!


This has been exacerbated by the idea of liturgy being defined as the "work of the people" when liturgia is actually public work ie. a type of public service undertaken by a certain individual ot individuals to provide a service to the community such as repairing the city walls or rebuilding a road. Much of the modern "liturgists" are to blame for this. Therefore if it is a work of the people it means that the liturgy reflects their preoccupations and can be changed to suit their needs.


Modern Man sees himself as the "measure of all things" and so unfortunately modern liturgy reflects this. You see that the altar in many Catholic churches has been reduced to a table that is on the same level as the people so that they can "gather" around it.


All of this speaks of a God who is "not great" and who is only as good as us.
The OF Liturgy ought to be a simplification of its father the EF Liturgy in the rites and length of prayers as well as be more easily understandable. and in many ways the intentions failed, in that it provides for a different set of complications. It needs to reflect the sobriety and gravitas of the Roman Liturgy.
In short it needs not revision , but simply re-orientation back towards God and not to the people.

Chuck Edwards










Photos supplied by Chuck Edwards.

Tansel Horn by John Proud

About 14 inches on the outside curve. Color has only been added to highlight some of the engraving. Reproduced after and original, the horn band at the base has been continued with horn bands that cover the entire base plug. The wooden finial, also after the original, is removable.






Photos supplied by John Proud.

Finger Woven and Quilled Pouch by Shawn Webster and James Blake - Made and Donated for the 2010 CLA Live Auction

This magnificent pouch is the collaborative efforts of two of the Longrifle Culture’s talented premier artists, Shawn Webster and James Blake. They have teamed up to produce an outstanding work for the 2010 CLA Fund Raising Auction to be held next month.

Back of the Bag

Based on an original in the collections of the Museum of Civilization (Ottawa, Canada), it is collective work showcasing the two artists’ various talents -- Blake’s finger weaving and Webster’s quill work. Though both are multi-talented artists, this pouch exhibits two of their strongest art forms.

BLAKE’S WEAVING: Woven with a tight two ply yarn (in the white) it was then dyed with a mix of madder root and Bloodroot, collected on James’ family's land in West Virginia. The beads were woven in on a separate linen thread as the weaving progressed, although James suggests there were multiple ways of applying the beads as original ethnographic examples show, such as the Amherst garters in the Chicago Field Museum. The beads are sewn in using the very same wool the piece was woven with. James finished the body and strap for the bag and off to Shawn Webster it went.

WEBSTER’S QUILLING: After receiving the finger woven material from James, Shawn put it all together. He first lined the piece with dyed linen material. The quillwork was copied from the original museum piece on which the contemporary pouch is based. All the quills were dyed using natural dyes then each one was sewn to the leather using 100% linen thread. The panels are both completely edged with quillwork as well. At the bottom are hand rolled tin cones filled with red dyed deer hair and each cone is quill wrapped.

This is a wonderful work of art by two experienced, talented artists and will make a great addition to anyone’s collection. Come to the CLA auction on August 20, 4 pm and put in your bid. For more information, visit: http://www.longrifle.com/.

The CLA Live Auction will be on Friday, August 20th at 4:00 PM.

Copy and photos supplied by David Wright.

Sunday, August 1, 2010

"The Scout" and "The General" by Ken Scott


Images supplied by Ken Scott.

Scott Sibley Horn with Scott Sibley Bag


Photos supplied by Robert Weil.

French Casaquin c 1790


French Casaquin or Jacket of earlier brocaded silk with sprays of flowers in corals, peach, green, ivory silks on a silvery/ivory ground woven with small repeat spot motif, the front with large square neck, front opening, the linen lining with eyelet holes to both sides, the bottom squared and with a pleated frill edged with pale pink silk, three quarter shaped sleeves, the back with wide gussets narrowing to the waist and splaying out to the skirt, edged with horizontally pleated frill, edged with pale pink silk, lined with coarse linen with an oval blue printed stamp, from shoulder to hem 20 in, the back 25 in.
This bodice was probably a skirt in a former life because the sleeves have old fold marks as if they were the pleats from a skirt. All adds to its fascinating history. The front bodice opening has been pieced so there are horizontal joins, another indication that this piece had a previous history.



Copy and photos from Meg Andrews.