Mat 16:13-19 ... you are Peter and on this rock I build my church ... (kefas, petra-petros)

Dokumen

 

Mat 16:19 Keys  to the Kingdom of God FAQ About Mass and The Liturgy

Kirim Ke Printer Kirim artikel ini ke teman


Facts on the Sacred Liturgy


1. "The General Instruction of the Roman Missal" (GIRM) is the document, with the force of law, which governs worship for the entire Church throughout the world. It is found at the beginning of every copy of the Sacramentary, also known as The Roman Missal.

2. "Regulation of the sacred liturgy depends solely on the authority of the Church, that is, on the Apostolic See and, as laws may determine, on the bishop. Therefore no other person, even if he be a priest, may add, remove, or change anything in the liturgy on his own authority." (Constitution on the Sacred Liturgy, No. 22)

3. In the document Inaestimabile donum, (no. 11), of 3 April, 1980, the Church teaches that, in those places where the blessed Sacrament is received standing, "it is strongly recommended that, coming up in procession," the faithful "should make a sign of reverence before receiving the Sacrament." (The universal sign of reverence for Christ in the Blessed Sacrament, whether reserved in the tabernacle or in Communion, is the genuflection.)

4. "A bow of the body, or profound bow, is made within the profession of faith at the words, 'by the power of the Holy Spirit' ". (GIRM, No. 234b)

5. During the "Confiteor" of the Mass, ("I confess"), the people are instructed to strike their breast during the words: "through my own fault".

6. In the Constitution on the Sacred Liturgy, chapter VI, the Second Vatican Council teaches that a preeminent place is to be given to the Latin language, organ and Gregorian chant in the liturgy of the Latin rite, and that these are the "three jewels" of the Latin rite liturgy. In Dominicae Cenae Pope John Paul II teaches, "The Roman Church has special obligations toward Latin, the splendid language of ancient Rome, and she must manifest them whenever the occasion presents itself."

7. "...steps should be taken so that the faithful may also be able to say or to sing together in Latin those parts of the Ordinary of the Mass which pertain to them." (Constitution on the Sacred Liturgy, No. 54) This includes, for example, the "Gloria", "Credo", "Sanctus", and "Agnus Dei".

8. The GIRM, number 234a, instructs priest and people that, in the celebration of the Mass, "a bow of the head is made when the three divine Persons are named together and at the name of Jesus, Mary and the saint in whose honor the Mass is celebrated".

9. "Three genuflections are made during Mass: after the showing of the Eucharistic bread, after the showing of the chalice, and before communion. If there is a tabernacle with the blessed Sacrament in the sanctuary, a genuflection is made before and after Mass and whenever anyone passes in front of the blessed Sacrament." (GIRM, No. 233)

10. The recitation of the Creed is a required element of the liturgies of Sundays and Solemnities. Neither priest nor people have the authority to omit it. (See no. 2 above.)
11. Re: "liturgical dance". On January 8, 1982, in answer to a question regarding liturgical dance, the Sacred Congregation for the Sacraments and Divine Worship referred to an article in its official journal, Notitiae, XI, 1975, pp. 202-205. "In the Byzantine Liturgy, there is a very simple dance [procession] on the occasion of a wedding, when the crowned newly married couple goes around the lectern with the celebrant...However, the same criterion and approach cannot be applied to Western culture. Here, the dance is connected with love, with amusement, with profanity, to rouse the senses, such a dance, usually, is not pure. Hence it is not possible to introduce something of that sort in the liturgical celebrations: it would mean to bring into the liturgy one of the most desacralized and desacralizing elements; and this would be seen as introducing an atmosphere of profanity, which would easily suggest to those present worldly places and profane situations. Nor is it acceptable to introduce into the liturgy the so-called artistic ballet because it would reduce the liturgy to mere entertainment...If it were the case that the suggestion of liturgical dance in the West should be accepted, there would arise the obligation that the dances should take place outside the Liturgy at a time and place where they are not considered liturgical celebrations. And from such dance priests should always be excluded."



From Cardinal Ratzinger's book, A New Song for the Lord available from Ignatius Press: "...we can...explain the fundamental change that has come about in the understanding of ritual and liturgy...: the primary subject of liturgy is neither God nor Christ, but the 'we' of the ones celebrating. And liturgy cannot of course have adoration as its primary content since, according to the deistic understanding of God, there is no reason for it. To an increasing degree people are seeing through the banality and the childish rationalism of the pathetic homemade liturgies with their artificial theatrics; it is becoming obvious how trivial they are. The authority of mystery has disappeared..."

 

NATIONAL CONFERENCE OF CATHOLIC BISHOPS 
(BISHOPS' COMMITTEE on the LITURGY) NEWSLETTER. 
APRIL/MAY 1982.

FROM THESE DIRECTIVES, from the NATIONAL CONFERENCE of CATHOLIC BISHOPS, all dancing, (ballet, children's gesture as dancing, the clown liturgy) are not permitted to be "introduced into liturgical celebrations of any kind whatever."

 

 

Musicians in Catholic Worship ­ III
Bells and Whistles, Guitars and Tambourines

by Lucy Carroll

Editor's Note:
This is the third of a three-part series by Dr. Carroll on Musicians in Catholic Worship. Part I, "Banish the Soloists - Let the People Sing" appeared in the July-August
Adoremus Bulletin and Part II, "Where Have All the Organists Gone?" appeared in the September issue.

"Banish the Soloists" looked at the cantor as soloist, a position not envisioned by the Second Vatican Council, and counter-productive to good congregational singing. "Where Have All the Organists Gone?" examined the pipe organ and its value in leading music in Catholic worship. This last segment looks at "other instruments" and their suitability or unsuitability at the Holy Sacrifice of the Mass.


Musicians fulfill an important and necessary function in the sacred Liturgy. But whether fully trained professionals or ardent amateurs (i.e., those who do it for love), all must remember that the purpose of the music is to implement the Liturgy, not to entertain the faithful or glorify themselves. The motto of all ought to be: Non nobis Domine, sed nomini tuo da gloriam! (Not to us, Lord, but to your Name be all glory!) -- The Author

When Saint Juan Diego of Guadalupe was canonized recently, the cathedral in Mexico City utilized a fine choir and full orchestra. Added to the orchestra, to show the relationship to the native population of whom Diego was a part, were historic instruments: conch shells, rattles, flutes. The instruments were fitted into the whole with expert craftsmanship. Around the same time, in the cathedral in Philadelphia, a mariachi band played. Were both suitable?

This is a thorny question, but it needs to be examined. Catholic parishes today are homes to rock bands and back-up groups that sound no different from those at the local bar or supper club. While they may be entertaining, are they truly suitable for the celebration of the Eucharist?

Recall that when Judaism lost the Temple of Jerusalem and services were held only in local synagogues, no musical instruments were permitted [see Part II of this series]. The only exception to this was the symbolic shofar, or ram's horn, used at Rosh Hashanah and Yom Kippur.

Early Christianity, wishing to differ from the Temple services (and also to be quieter by virtue of being in hiding), did not allow any instruments. Early services used chanting derivative of Hebraic chants and cantillations. Many types of chant thus evolved: Mozarabic, Ambrosian, and Gregorian, to name three.

Eventually, Pope Gregory codified and unified the chants, and Gregorian chants were used almost universally. True Gregorian chant is best sung unaccompanied. It is, by definition, a single-line melody. However, as congregations grew, as ever-larger churches were built, and as harmony crept into the music of the Church, some instrumental help was needed. In the Western Church, the pipe organ was admitted as the perfect leader of song, an instrument that could play more than one melodic line, could be heard throughout the church, and which was a good equivalent to the tone production in the human voice.

For centuries, the pipe organ continued to be the one approved instrument for Catholic worship. Other instruments were used in music for concerts, music dramas, prayer services, feast day events, and the like. But for the Mass, only the organ was deemed sacred enough in nature.

In the sixteenth century, wind and brass instruments, and some strings, were added for festive services, as in the example of Venice's St. Mark's Cathedral and the composer Giovanni Gabrielli. For most churches, however, the organ sufficed.

Pope Pius X reaffirmed this in his Instruction on Sacred Music, Tra le Sollecitudini, issued on Saint Cecilia's Day, November 22, 1903.

Of course, all through history, abuses crept in. In the liturgical reform at the beginning of the twentieth century, the pipe organ was once again re-affirmed as being the instrument most suitable for the Mass. Orchestral instruments -- woodwinds, brass, strings -- could be used, with the bishop's permission, for special occasions.

Did the Second Vatican Council change this? Not really. Here is what we find in 1963's Constitution on the Liturgy, Sacrosanctum Concilium:

other instruments may be admitted for use in divine worship. This may be done, however, only on condition that the instruments are suitable, or can be made suitable, for sacred use; that they accord with the dignity of the temple, and that they truly contribute to the edification of the faithful. (120)

The clear presumption here is that there are sacred and non-sacred instruments and usages.

At our monastery, we often include instruments on special occasions. A brass quartet joined our pipe organ and choir for centenary celebrations in 2002. A professional violist and a violinist volunteer their services at Christmas, Novena and Triduum. A trumpeter colleague joins us on occasion. These instruments fit well with the chant and traditional music we do at the monastery, and help to enhance and encourage the congregation.

So why do we find rock bands, mariachi bands, salsa bands, guitar groups, bells and whistles in our parishes? There is a passage in Sacrosanctum Concilium that has been widely misinterpreted. The Council Fathers wrote:

in mission lands there are people who have their own musical tradition, and this plays a great part in their religious and social life. For this reason their music should be held in proper esteem and a suitable place is to be given to it. (119)

The obvious intent here was to permit "mission lands" -- that hadn't even plumbing or electricity -- to use what was available to them. And "a suitable place" doesn't mean to throw out the universal tradition! America is hardly such a mission land. This was not a wholesale license to use every possible style of music. Indeed, the intent was quite the contrary. In the very next paragraph, the document tells of the important place of the pipe organ in worship, a goal to be reached by everyone.

Pope Saint Pius X had something to say about this in 1903. In speaking of adding "native music" elements, he wrote, "still these forms must be subordinated in such a manner to the general characteristics of sacred music that nobody of any nation may receive an impression other than good [here meaning, sacred in nature] on hearing them" (Tra le Sollecitudini 2). They must be subordinated to the general characteristics of sacred music. This is a powerful mandate!

So, the natural instruments of the indigenous peoples used at the canonization of Juan Diego, fitted into the mélange of choir, organ, and orchestra, were eminently suitable. But if a mariachi band sounds exactly as it does at a fiesta where the guests are swigging margaritas, or a rock band sounds as it does at a local teen dance, then they are not suitable for Mass. Whether they can be made suitable or sacred in nature as the Church requires is highly questionable.

A few months ago, Pope John Paul II called the Church to "an examination of conscience so that the beauty of music and song will return increasingly to the Liturgy". He said that "It is necessary to purify worship of deformations, of careless forms of expression of ill-prepared music and texts which are not suited to the grandeur of the act being celebrated". (Wednesday audience message, February 26, 2002 - in AB March 2003, p 12.)

Music that is entertaining is, by its nature and style, appealing and popular; but it is not sacred music. Mariachi bands, kazoo groups, rock bands, and the like are definitely not "suited to the grandeur of the act being celebrated".

What about Guitars?
In my own parish, a guitarist is hired for one of the weekend Masses. He sits in the sanctuary and plays his guitar as he sings. The gentleman has a nice singing voice, but the congregation, usually a good singing congregation, muffles itself when he performs. They try not to out-sing the soloist, or drown out the guitar.

The guitar can be a beautiful solo instrument. It can blend nicely into an accompaniment ensemble behind a soloist or choir. But is is not a good instrument for leading congregational singing, as most musicians observe: "What is it with you Catholics and guitars?" an Episcopalian friend asked. And a Methodist colleague added, "we only bring in the guitar for the children's group. It just doesn't work for a congregation". Indeed!

Lest I be accused of being anti-guitar, I have a large collection of recordings of Paco Peña, Carlos Montoya, Andrés Segovia. To me, this is guitar. But most people who play the guitar in our churches today are not well trained musicians. So we get nothing but a rhythmic strum-strum-strum (and not always in tune). When the untrained lead the untrained, how can we present the best to God? How can we give God -- the source of all truth, beauty, and goodness -- music that is true, beautiful, and good?

Musical Styles
Forty years ago, the Constitution on the Liturgy stressed that Catholic music is "a treasure of inestimable value":

The musical tradition of the universal Church is a treasure of inestimable value, greater even than that of any other art. The main reason for this pre-eminence is that, as a combination of sacred music and words, it forms a necessary or integral part of the solemn Liturgy. (SC 112)

Greater than any other art! Integral part of the solemn Liturgy! And more so, "The treasury of sacred music is to be preserved and cultivated with great care" (SC 114). Yet in many parishes, one will find little music written before 1960. This may be good for the music publishers, but it eliminates the treasure of music that the Council told us we were to keep and continue. If we are not using traditional music of the Catholic Church, and only buying the hot-off-the-press hymn-of-the-month-club stuff, then we are not obeying the Fathers of the Second Vatican Council.

The phrases in Chapter VI of Sacrosanctum Concilium are very telling: "sacred music is more holy", "conferring greater solemnity". The word "solemn" appears many times in connection with music that is suited to the Mass. It is hard to equate the rock bands found in many parishes with "solemnity".

The Council Fathers wrote, "The Church recognizes Gregorian chant as being specially suited to the Roman Liturgy. Therefore ... it should be given pride of place in liturgical services" (SC 116). This is reaffirmed in the 2002 General Instruction of the Roman Missal (GIRM):

Gregorian chant holds pride of place because it is proper to the Roman Liturgy. Other types of music, in particular polyphony, are in no way excluded, provided that they correspond to the spirit of the liturgical action. Since faithful from different countries come together ever more frequently, it is fitting that they know how to sing together parts of the Ordinary of the Mass in Latin, especially the Creed and the Lord's Prayer. (GIRM 41)

If chant and the traditional music of the Church, Latin-chanted Credos and Pater Noster, are to hold "pride of place" in our Roman rite, then the instruments used must be suitable for that music. Clearly this would immediately eliminate much of what we find in parishes today.

Pope Saint Pius X wrote in his Instruction on music one hundred years ago that nothing should "diminish the piety ... give scandal ... offend the decorum and sanctity of the sacred functions" .

He wrote, "It must be holy, and must therefore, exclude all profanity not only in itself, but in the manner in which it is presented by those who execute it" (TLS 2).

The word profanity here means non-sacred; i.e., music that is secular in nature. Pius X was quite specific about instruments: "the employment of the piano is forbidden in church, as is also that of noisy or frivolous instruments such as drums, cymbals, bells, and the like" (TLS 19).

The preference for Gregorian chant, polyphony, Latin, and the pipe organ appear both in Sacrosanctum Concilium and Musicam Sacram (1967 Instruction on Music in the Liturgy), and are repeated in in the 2002 GIRM.

In the GIRM (US version), we still read, "While the organ is to be accorded pride of place, other wind, stringed, or percussion instruments may be used in liturgical services in the dioceses of the United States of America, according to longstanding local usage, provided they are truly apt for sacred use or can be rendered apt" (393).

So there it is, folks. Sacred. Dignified. Decorum. Piety. Traditional. Suitable. Not profane or secular.

While some liturgists may try to tell us that music becomes sacred by being used for worship, the notion that function (or use) creates form (or meaning) is hardly self-evident. Most musicians, musicologists and music therapists would strongly disagree -- not to mention Cardinal Ratzinger, the popes, and Vatican directives! The nature of the thing will determine its use, not vice versa.

So what does this mean?

If it sounds like a Broadway ballad, it belongs on Broadway, not the altar. If it sounds like a "golden oldie", sing it at home. If it stirs feelings of a non-sacred nature, it does not belong in a sacred place. If sounds like a rock group or a mariachi band, then it may be fine for entertainment at the parish picnic or in the gym, but not at Mass, and not in the temple wherein the Sacrifice of Calvary is re-presented.

If the instruments used to accompany congregational singing do not lead the faithful into fuller participation in the Sacrifice of the Mass, or a deeper sense of the sacred; if instead they entertain us, or bring our hearts and minds into the world -- the mundane, secular, and sensual -- then how can they be suitable (or "made apt") for the Holy Sacrifice of the Mass?

Exactly a century ago, Pope Saint Pius X's Instruction on liturgical music observed that "there is a general tendency to deviate from the right rule" that erodes a sense of the sacred at Mass. He succinctly described his objective concerning Church music:

We deem it necessary to provide before anything else for the sanctity and dignity of the temple, in which the faithful assemble for no other object than that of acquiring this spirit from its foremost and indispensable fount, which is the active participation in the most holy mysteries and in the public and solemn prayer of the Church. (TLS introduction)

In our churches in 2003, no less than in 1903, we need to banish whatever is unsuitable -- whether instruments, or styles -- and work to restore the sacred sound of music in our churches, so that we may experience the full truth and beauty of the sacred Liturgy.


Lucy E. Carroll, D.M.A., is organist and music director at the public chapel of the Carmelite monastery in Philadelphia, and is adjunct associate professor at Westminster Choir College, Princeton.

 

 

Musicians in Catholic Worship: Part I Banish the Soloists -- Let the People Sing
by Lucy E. Carroll [July-August 2003]

Musicians in Catholic Worship: Part II Where Have All the Organists Gone?
by Lucy E. Carroll [September 2003]

 

 

 

 

 

 

 

APOSTOLIC LETTER
SUMMORUM PONTIFICUM
OF THE SUPREME PONTIFF
BENEDICT XVI
GIVEN MOTU PROPRIO
__________________


[INTRODUCTION: Unofficial Vatican Information Service Translation, amended where needed]


It has been the constant concern of the Supreme Pontiffs, and up to the present time, to ensure that the Church of Christ offers a worthy worship to the Divine Majesty, 'to the praise and glory of His name,' and 'to the benefit of all His Holy Church.'

Since time immemorial it has been necessary - as it is also for the future - to maintain the principle according to which 'each particular Church must concur with the universal Church, not only as regards the doctrine of the faith and the sacramental signs, but also as regards the usages universally accepted by uninterrupted apostolic tradition, which must be observed not only to avoid errors but also to transmit the integrity of the faith, because the Church's law of prayer corresponds to her law of faith.' (1)

Among the pontiffs who showed that requisite concern, particularly outstanding is the name of St. Gregory the Great, who made every effort to ensure that the new peoples of Europe received both the Catholic faith and the treasures of worship and culture that had been accumulated by the Romans in preceding centuries. He commanded that the form of the sacred liturgy as celebrated in Rome (concerning both the Sacrifice of Mass and the Divine Office) be conserved. He took great concern to ensure the dissemination of monks and nuns who, following the Rule of St. Benedict, together with the announcement of the Gospel illustrated with their lives the wise provision of their Rule that 'nothing should be placed before the work of God.' In this way the sacred liturgy, celebrated according to the Roman use, enriched not only the faith and piety but also the culture of many peoples. It is known, in fact, that the Latin liturgy of the Church in its various forms, in each century of the Christian era, has been a spur to the spiritual life of many saints, has reinforced many peoples in the virtue of religion and fecundated their piety.

Many other Roman pontiffs, in the course of the centuries, showed particular solicitude in ensuring that the sacred liturgy accomplished this task more effectively. Outstanding among them is St. Pius V who, sustained by great pastoral zeal and following the exhortations of the Council of Trent, renewed the entire liturgy of the Church, oversaw the publication of liturgical books amended and 'renewed in accordance with the norms of the Fathers,' and provided them for the use of the Latin Church.

One of the liturgical books of the Roman rite is the Roman Missal, which developed in the city of Rome and, with the passing of the centuries, little by little took forms very similar to that it has had in recent times.

'It was towards this same goal that succeeding Roman Pontiffs directed their energies during the subsequent centuries in order to ensure that the rites and liturgical books were brought up to date and when necessary clarified. From the beginning of this century they undertook a more general reform.' (2) Thus our predecessors Clement VIII, Urban VIII, St. Pius X (3), Benedict XV, Pius XII and Blessed John XXIII all played a part.

In more recent times, Vatican Council II expressed a desire that the respectful reverence due to divine worship should be renewed and adapted to the needs of our time. Moved by this desire our predecessor, the Supreme Pontiff Paul VI, approved, in 1970, reformed and partly renewed liturgical books for the Latin Church. These, translated into the various languages of the world, were willingly accepted by bishops, priests and faithful. John Paul II amended the third typical edition of the Roman Missal. Thus Roman pontiffs have operated to ensure that 'this kind of liturgical edifice ... should again appear resplendent for its dignity and harmony.' (4)

But in some regions, no small numbers of faithful adhered and continue to adhere with great love and affection to the earlier liturgical forms. These had so deeply marked their culture and their spirit that in 1984 the Supreme Pontiff John Paul II, moved by a concern for the pastoral care of these faithful, with the special indult 'Quattuor abhinc anno," issued by the Congregation for Divine Worship, granted permission to use the Roman Missal published by Blessed John XXIII in the year 1962. Later, in the year 1988, John Paul II with the Apostolic Letter given as Motu Proprio, 'Ecclesia Dei,' exhorted bishops to make generous use of this power in favor of all the faithful who so desired.



[ONLY LEGAL ARTICLES OFFICIALLY TRANSLATED]

Our predecessor John Paul II having already considered the insistent petitions of these faithful, having listened to the views of the Cardinal Fathers of the Consistory of 22 March 2006, having reflected deeply upon all aspects of the question, invoked the Holy Spirit and trusting in the help of God, with these Apostolic Letters We establish the following:

Art. 1 The Roman Missal promulgated by Paul VI is the ordinary expression of the Lex orandi (Law of prayer) of the Catholic Church of the Latin rite. Nonetheless, the Roman Missal promulgated by St. Pius V and reissued by Bl. John XXIII is to be considered as an extraordinary expression of that same Lex orandi, and must be given due honour for its venerable and ancient usage. These two expressions of the Church’s Lex orandi will in no any way lead to a division in the Church’s Lex credendi (Law of belief). They are, in fact two usages of the one Roman rite.

It is, therefore, permissible to celebrate the Sacrifice of the Mass following the typical edition of the Roman Missal promulgated by Bl. John XXIII in 1962 and never abrogated, as an extraordinary form of the Liturgy of the Church. The conditions for the use of this Missal as laid down by earlier documents Quattuor abhinc annis and Ecclesia Dei, are substituted as follows:

Art. 2 In Masses celebrated without the people, each Catholic priest of the Latin rite, whether secular or regular, may use the Roman Missal published by Bl. Pope John XXIII in 1962, or the Roman Missal promulgated by Pope Paul VI in 1970, and may do so on any day with the exception of the Easter Triduum. For such celebrations, with either one Missal or the other, the priest has no need for permission from the Apostolic See or from his Ordinary.

Art. 3 Communities of Institutes of consecrated life and of Societies of apostolic life, of either pontifical or diocesan right, wishing to celebrate Mass in accordance with the edition of the Roman Missal promulgated in 1962, for conventual or “community” celebration in their oratories, may do so. If an individual community or an entire Institute or Society wishes to undertake such celebrations often, habitually or permanently, the decision must be taken by the Superiors Major, in accordance with the law and following their own specific decrees and statues.

Art. 4 Celebrations of Mass as mentioned above in art. 2 may observing all the norms of law also be attended by faithful who, of their own free will, ask to be admitted.

Art. 5 § 1 In parishes, where there is a stable group of faithful who adhere to the earlier liturgical tradition, the pastor should willingly accept their requests to celebrate the Mass according to the rite of the Roman Missal published in 1962, and ensure that the welfare of these faithful harmonises with the ordinary pastoral care of the parish, under the guidance of the bishop in accordance with canon 392, avoiding discord and favouring the unity of the whole Church.

§ 2 Celebration in accordance with the Missal of Bl. John XXIII may take place on working days; while on Sundays and feast days one such celebration may also be held.

§ 3 For faithful and priests who request it, the pastor should also allow celebrations in this extraordinary form for special circumstances such as marriages, funerals or occasional celebrations, e.g. pilgrimages.

§ 4 Priests who use the Missal of Bl. John XXIII must be qualified to do so and not juridically impeded.

§ 5 In churches that are not parish or conventual churches, it is the duty of the Rector of the church to grant the above permission.

Art. 6 In Masses celebrated in the presence of the people in accordance with the Missal of Bl. John XXIII, the readings may be given in the vernacular, using editions recognised by the Apostolic See.

Art. 7 If a group of lay faithful, as mentioned in art. 5 § 1, has not obtained satisfaction to their requests from the pastor, they should inform the diocesan bishop. The bishop is strongly requested to satisfy their wishes. If he cannot arrange for such celebration to take place, the matter should be referred to the Pontifical Commission “Ecclesia Dei”.

Art. 8 A bishop who, desirous of satisfying such requests, but who for various reasons is unable to do so, may refer the problem to the Commission “Ecclesia Dei” to obtain counsel and assistance.

Art. 9 § 1 The pastor, having attentively examined all aspects, may also grant permission to use the earlier ritual for the administration of the Sacraments of Baptism, Marriage, Penance, and the Anointing of the Sick, if the good of souls would seem to require it.

§ 2 Ordinaries are given the right to celebrate the Sacrament of Confirmation using the earlier Roman Pontifical, if the good of souls would seem to require it.

§ 2 Clerics ordained “in sacris constitutis” may use the Roman Breviary promulgated by Bl. John XXIII in 1962.

Art. 10 The ordinary of a particular place, if he feels it appropriate, may erect a personal parish in accordance with can. 518 for celebrations following the ancient form of the Roman rite, or appoint a chaplain, while observing all the norms of law.

Art. 11 The Pontifical Commission “Ecclesia Dei”, erected by John Paul II in 1988, continues to exercise its function. Said Commission will have the form, duties and norms that the Roman Pontiff wishes to assign it.

Art. 12 This Commission, apart from the powers it enjoys, will exercise the authority of the Holy See, supervising the observance and application of these dispositions.

We order that everything We have established with these Apostolic Letters issued as Motu Proprio be considered as “established and decreed”, and to be observed from 14 September of this year, Feast of the Exaltation of the Cross, whatever there may be to the contrary.

From Rome, at St. Peter’s, 7 July 2007, third year of Our Pontificate.