Prosaic Relics

Earlier this week, I went to the Birmingham Oratory for the Feast of Bl. John Henry Newman. Fr. Ignatius Harrison, the Provost, was kind enough to open up the Oratory house to me. I must offer him my tremendous thanks for his hospitable willingness to let me see such an incredible (and, it must be said, holy) place. Likewise, I thank Br. Ambrose Jackson of the Cardiff Oratory for taking time out of his busy schedule to give me what was an extraordinarily memorable tour. I went away from the experience with a rekindled devotion to Cardinal Newman.

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Your humble servant in Cardinal Newman’s own library. Photo taken by Br. Ambrose Jackson of the Cardiff Oratory. You can see Cardinal Newman’s violin case on the lower shelf of his standing desk at right.

There were many striking and beautiful sights at the Oratory – not the least of which was the Pontifical High Mass in the Usus Antiquior, celebrated by His Excellency, Bishop Robert Byrne. Even from so short an experience, I can tell that the Birmingham Oratory is one of the places where Catholicism is done well, where the Beauty of Holiness is made manifest for the edification of all the faithful. I walked away from that Mass feeling drawn upwards into something supernal, something far beyond my ken. This place that so palpably breathes the essence of Cardinal Newman is, as it were, an island of grace and recollection amidst a worldand, sadly, a Churchso often inimical to things of the spirit.

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The Birmingham Oratory with the relics of the Blessed Cardinal displayed for veneration by the faithful. This photo was taken by the author shortly before Mass.

Yet amidst all this splendor, I found myself peculiarly drawn to one very quiet, very easy-to-miss relic. It lies in the little chapel to St. Philip Neri to the left of the altar; in this placement, one can see the influence of the Chiesa Nuova on Newman and his sons, who modeled their house’s customs on Roman models. And so it is only appropriate to find relics of St. Philip there in that small and holy place, so evocative of the great father’s final resting place.

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The altar of St. Philip Neri, Birmingham Oratory. Photo taken by the author.

The collection of relics in the chapel are mostly second-class. These are not pieces of the body, but materials that touched St. Philip either in his life or after his death. One of these small items spoke to me in an especially strong way.

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The little grey pouch you see to the left is St. Philip’s spectacle case. There is nothing terribly remarkable about it. It may not even be entirely intact, for all I know. A visible layer of dust covers the case, and a hard-to-read, handwritten label is all that identifies its use and provenance. No one comes to the Birmingham Oratory to see what once held St. Philip’s glasses. But of all the glorious relics I saw that day some encrusted in gold, some taken from rare and holy men, some evoking the perilous lives of saints who lived in a more heroic ageit was this humble artifact that most fired my imagination.

A spectacle case is no great thing. It does not shift the balance of empires or change the course of history. But humility and nobility are close cousins all the same. Here we come upon St. Philip in his quotidian life. A saint so marvelously strange, so crammed with the supernatural, so flame-like in darting from one miracle to another, nevertheless bent his fingers to the perfectly ordinary task of opening this case and taking out his spectacles so that he might see just a little better. It is a true maxim that grace builds upon nature. We have been told of St. Philip’s many graces. Here we find him in his nature; frail and imperfect and in need of just a little aid, so like our own.

The supernatural never erases the natural, and God is never more glorified than in our weakness. The hands that took up this case and opened it and drew forth its contents, perhaps a little fumblingly from time to time, are the very same thaumaturgic hands that lifted a prince out of death and Hell so that he might make his final confession. We know the story of the miracle. How rarely do we ponder the everyday conditions of its operation! How rarely do we consider those hands in their ordinary life.

There is a tendency with St. Philipas with many saints, and with Our Lord Himselfto reduce his life to one or two features. Some would make him an avuncular chap, always happy to laugh and thoroughly pleasant to be around, a jokester, a picture of joy and friend to all. On the other hand, we can get lost in the extraordinarily colorful miracles that mark St. Philip’s life, losing him in a fog of pious pictures and pablum. Neither captures his essence. The true middle way is to maintain a healthy sense of the bizarrean approach that recognizes the extraordinary in-breaking of the supernatural precisely because it appreciates the ordinary material of St. Philip’s day-to-day existence. It was this view that Fr. Ignatius himself recommended, though perhaps with a greater emphasis on the “weird,” in his homily delivered last St. Philip’s day.

I was reminded of this double reality when I saw St. Philip’s spectacle case. Prosaic relics carry this two-fold life within them more vividly than those upon which our ancestors’ piety has elaborated in glass and gold. Even Cardinal Newman’s violin case is not so markedly dual in this way; after all, every instrument belongs to that human portion of the supernatural we call “art.” Music, paintings, and other aesthetic forms all lift the human soul out of itself and into another world. In some ways, they are cousins both to Our Lady and to the Sacraments, God’s masterpieces of the sensible creation. Yet a spectacle casehow utilitarian. How plain. How merely functional. There is no poetry in a spectacle case. One can imagine writing a poem about a violinthe sinuous form of the wood almost suggests it, and more so when it carries a connection with so great a man as Newmanbut a spectacle case? Drab as this one is, its beauty comes only from the story it tells, from the life it once served, from the little help it gave its owner in his acquisition of beatitude.

Too often we wish to be God’s violins. In our quest for holiness, we wish to be admired, to cast our voice abroad, to give and seek beauty. These are not necessarily unworthy goals. But they are not the most important thing. Too infrequently do we turn our mind to the spectacle case. All too rarely do we seek our holiness in the gentle, quiet, everyday task of being useful, unnoticed, and present to God precisely when He needs us.

St. Philip knew how to be both, when he needed to be. May we learn to be like him in this as in so many respects.

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The effigy of Holy Father Philip, Chapel of St. Philip Neri, Birmingham Oratory. Photo taken by author.

 

Newman and Divine Providence

Bl. John Henry Newman, Doctor of Conscience and Doctor of Tradition, remains one of my dear friends in Heaven. Some of his prayers and devotions are as puissant today as they were when they were first composed. I am consoled by and draw courage from this extended passage of the Meditations and Devotions:

I have always thought this portrait captures the humanity and essential kindness of Cardinal Newman. (Source)

GOD has created all things for good; all things for their greatest good; everything for its own good. What is the good of one is not the good of another; what makes one man happy would make another unhappy. God has determined, unless I interfere with His plan, that I should reach that which will be my greatest happiness. He looks on me individually, He calls me by my name, He knows what I can do, what I can best be, what is my greatest happiness, and He means to give it me.

God knows what is my greatest happiness, but I do not. There is no rule about what is happy and good; what suits one would not suit another. And the ways by which perfection is reached vary very much; the medicines necessary for our souls are very different from each other. Thus God leads us by strange ways; we know He wills our happiness, but we neither know what our happiness is, nor the way. We are blind; left to ourselves we should take the wrong way; we must leave it to Him.

Let us put ourselves into His hands, and not be startled though He leads us by a strange way, a mirabilis via, as the Church speaks. Let us be sure He will lead us right, that He will bring us to that which is, not indeed what we think best, nor what is best for another, but what is best for us.

O, my God, I will put myself without reserve into Thy hands. Wealth or woe, joy or sorrow, friends or bereavement, honour or humiliation, good report or ill report, comfort or discomfort, Thy presence or the hiding of Thy countenance, all is good if it comes from Thee. Thou art wisdom and Thou art love—what can I desire more? Thou hast led me in Thy counsel, and with glory hast Thou received me. What have I in heaven, and apart from Thee what want I upon earth? My flesh and my heart faileth: but God is the God of my heart, and my portion for ever.

God has created me to do Him some definite service; He has committed some work to me which He has not committed to another. I have my mission—I never may know it in this life, but I shall be told it in the next. Somehow I am necessary for His purposes, as necessary in my place as an Archangel in his—if, indeed, I fail, He can raise another, as He could make the stones children of Abraham. Yet I have a part in this great work; I am a link in a chain, a bond of connexion between persons. He has not created me for naught. I shall do good, I shall do His work; I shall be an angel of peace, a preacher of truth in my own place, while not intending it, if I do but keep His commandments and serve Him in my calling.

Therefore I will trust Him. Whatever, wherever I am, I can never be thrown away. If I am in sickness, my sickness may serve Him; in perplexity, my perplexity may serve Him; if I am in sorrow, my sorrow may serve Him. My sickness, or perplexity, or sorrow may be necessary causes of some great end, which is quite beyond us. He does nothing in vain; He may prolong my life, He may shorten it; He knows what He is about. He may take away my friends, He may throw me among strangers, He may make me feel desolate, make my spirits sink, hide the future from me—still He knows what He is about.

O Adonai, O Ruler of Israel, Thou that guidest Joseph like a flock, O Emmanuel, O Sapientia, I give myself to Thee. I trust Thee wholly. Thou art wiser than I—more loving to me than I myself. Deign to fulfil Thy high purposes in me whatever they be—work in and through me. I am born to serve Thee, to be Thine, to be Thy instrument. Let me be Thy blind instrument. I ask not to see—I ask not to know—I ask simply to be used.

(Meditations and Devotions “Hope in God – Creator”)

Another View of the Sacraments in the Eighteenth Century

A while back I produced a short post entitled “A View of the Sacraments in the Age of Enlightenment.” Here I give you another series of similar images, this time from the hand of Giuseppe Maria Crespi, also known as “Lo Spagnuolo.” These paintings from 1712, so reminiscent of Rembrandt, hang in the Gemäldegalerie, Dresden. Originally commissioned by Cardinal Pietro Ottoboni, that towering figure of late Baroque culture, they passed posthumously up to Germany, where they made their way into collection of the Elector of Saxony.

Let me begin by saying that, as with the information in the above paragraph, all of the images can be found at Wikipedia.

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“Baptism.” Crespi’s sparing use of light demonstrates the central conjunction of the scene. Allowing our eyes to wander along the central line of illumination, we follow the arm of the priest pouring water on the head of the outstretched infant to the mother’s rosary-wrapped wrist just beyond. I am convinced that the use of light in all of these images is the key to their meaning. Crespi uses light to illustrate the work of sacramental grace, and darkness to emphasize the mortality, evanescence, and weariness of our ordinary world. “The people in darkness have seen a great light” – thus spake Isaiah.

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“Communion.” The priest’s face is shrouded in darkness, and rightly so. It is not he who offers the bread of life, but Christ in him. Interesting collar, too. Sure looks familiar. Cardinal Ottoboni was patron of the Congregation of the Oratory at Rome for some time, and it’s entirely possible that Crespi would have taken the Oratorians as his model here. Besides that, the setting of the scene is strikingly barren. Crespi’s choice to leave out the probable altar rail lends the scene an intimacy that captures the very heart of the worship here portrayed.

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“Confirmation.” Crespi’s lightest and most colorful piece in the series. The vivid red-orange of the boy’s robes call to mind the tongues of flame that appeared on Pentecost, as does the (relatively) diffuse light bathing the scene. The brightest part of the image is the Bishop’s arm, only just anointing the boy’s head.  The strong predominance of vertical and diagonal lines in this piece only reinforce the sense of descent. Like all the paintings, the scene here is crowded without being cramped. Crespi seems to have penetrated to the deeply ecclesial nature of the sacraments. The sacraments are what give the Christian community its underlying spiritual cohesion and form. To quote De Lubac, “The Eucharist makes the Church.”

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“Confession.” Quite in contrast to “Confirmation,” we come to Crespi’s darkest piece in the series. The overwhelming color is black. Confession is the sacrament that deals most straightforwardly with the reality of sin. The narrow contraction of the light – it comes only from one side, and very weakly. The formal likeness between confessor and penitent reminds us of the condition of sin common to all men. This painting is also the only one in the series where we don’t see a crowd. Only two figures are visible. In the end, we are always “alone with the Alone.”

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“Matrimony.” Perhaps the most human of Crespi’s scenes. But we find unusual notes, things I can’t quite interpret with satisfaction. For a painting of matrimony, we hardly see the couple. Indeed, the bride has almost been swallowed up by the shadows. Nigra sum sed formosa. Perhaps. The priest stands like a pillar of cloud before them, blessing their union. That seems straightforward enough. Yet why is the man on the left holding his hand to his mouth, as if to signal silence? Perhaps because the matter of this sacrament is always properly taken in secret…

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“Ordination.” This composition is a swirling mix of blacks, browns, subtle golds, and occasionally, whites. The point that stands out most is the break in this overall scheme – the youthful, rosy visage of the ordinand, coupled with the slightly ruddy shadows that fall across his hand. What a contrast with the other figures, all of whom are shrouded in darkness and invested with a manifest pallor. Here is an image of youth, a prospect of renewal against a backdrop of dignified decay.

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“Extreme Unction.” At last we come to the end, the place of the skull. It is only fitting that Crespi should choose to depict a collection of Franciscans for this sacrament. Religious life is always a preparation for death. Yet the bright patch of light improbably illuminating the shoulder of the attendant friar contrasts starkly with the shadowy body of the dying father and points to new hope.

The Prince of Papist Purple Prose

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Faberesque religious art. (Source)

The Church offers us the way of salvation. She declares the destination, Heaven; she notes our provenance, the bondage of our sinful nature. And she furnishes a route from the latter up to the former. Or, I might say, “routes.” For while the Cruciform road to Heaven may appear singular from afar, anyone who enters the Journey will find that it is in fact composed of many different paths. The holy diversity of the Church is one testament of its Catholicity. Like a great Cathedral or Basilica that appears as one massive edifice from the street but harbors dozens of little side-altars within, each distinctly the Table of the Lord, the Church offers more streams of spirituality than we can discern. Some flow still in our midst, giving life to multitudes. Others run dry. And some thought long-extinct may suddenly spring forth in new vim and vigor.

It is only a natural and concurrent fact that the Church should likewise offer her children a diverse array of spiritual writers. There is the beautiful, mysterious Areopagite; the mighty, noble St. Augustine; the dazzlingly imaginative St. Ephrem the Syrian; the logical, pacific Aquinas; the bloody consolations of Dame Julian; the gleaming shadows of St. John of the Cross; the brooding brilliance of Pascal; the soaring eloquence of Bossuet; the roseate cheer of St. Thérèse of Lisieux; the luminous fragmentation of T.S. Eliot; the Gothic grotesquerie of Flannery O’Connor.  The list goes on and on.

The English Catholic Revival was a fertile time for spiritual writers. At the fountainhead of the entire movement stands Cardinal Newman, whose massive influence is still being felt by theologians and writers today. The founder of the English Oratory was a masterful stylist, so much so that James Joyce considered him the greatest master of English prose. Every ecclesiastical development proves that Newman’s theology is more timely than ever. He has been lauded by subsequent generations, and rightly so. When he is eventually canonized, he will certainly be declared a Doctor of the Church for his labors.

But he has, sadly, overshadowed another figure, one no less deserving of praise for his own work on behalf of the Gospel. That man is Fr. Frederick William Faber, the founder of the London Oratory.

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Fr. Frederick William Faber, Father of the Brompton Oratory. (Source)

Faber was an Oxford convert like Newman. After leaving the University, he first served as an Anglican parish priest in Northamptonshire. He would later bring eleven men with him across the Tiber when he resigned his post. After shepherding the community for a short time, he eventually joined forces with Newman and co-founded the English Oratory. They split the country. Newman went to Birmingham, and Faber went to London. In the course of his time there, he gained notoriety as a preacher of remarkable versatility and power, a widely-respected hymnodist, a constant friend of the poor, and an authoritative teacher of the spiritual life. As one source has it, his written works

…are a mine of spiritual gold of the highest purity, refined and drawn from Faber’s deep understanding of Catholic spiritual theology. For he had delved deeply, not only into the standard Scholastic philosophy and theology, but especially into the mystical schools. Father Faber was a brilliant man whose theology of the Absolute Primacy of Christ and Mary is grounded in that of the Subtle Doctor, Blessed John Duns Scotus (1266-1308), all recast in simple ordinary English. (174).

When he died, all the great Catholics of England honored his memory. In France, even the formidable abbot of Solesmes, Dom Prosper Guéranger, admired his writings and wrote of him fondly.

But Faber is a largely forgotten figure today, at least among American Catholics. While most have probably heard at least one or two of his hymns, such as “Faith of Our Fathers,” few read more deeply into his life or thought. Why? What has caused this lacuna in our collective memory?

There are, I think, two primary reasons.

The first is that he is eclipsed by Newman. The two had differences in their own day. Newman was resolutely opposed to the pretensions of Ultramonatism; Faber, like Cardinal Manning, was a strong advocate of Rome’s prerogatives. Newman always wanted to return to Oxford and restore some traces of his old, academic life; Faber was content to build the finest church of Great Britain in London, to better minister to the poor. Newman was always a little wary about Marian titles and devotions; Faber practically bathed in them. As Monsignor Rondald Knox writes in 1945,

While Faber is introducing the British public to the most luscious legends of the Counter-Reformation, Newman is still concerned over the difficulties of Anglicans, still asking how and in what sense Catholic doctrine has developed, still cautiously delimiting the spheres of faith and reason. (“The Conversions of Newman and Faber,” Pastoral and Occasional Sermons, 875).

The tensions surrounding Faber’s spirituality eventually led Newman to formally, judicially separate the two houses. Sadly, “While Newman visited Faber shortly before his death, the two men were not able to fully resolve their differences.”

The second, related to the first, is part stylistic, part spiritual. Consider an analogy. Among the Metaphysical Poets, the meditative Donne has always outshone the ebullient Crashaw. Logos is easy to parse. Its analysis is a straightforward, if sometimes arduous task. Pathos, however, is a more slippery beast altogether, and one less communicable and less persistent than we should like to think. It may fire one breast and repel another. Not all hearts chime the same tune in the same wind. Likewise, Newman’s depth, intellect, and style have garnered more attention than Faber’s flowery devotions. His devotional prose is as purple as it gets. Consider the following passage, taken from Part I of “The Mystery of the Precious Blood.”

SALVATION! What music is there in that word – music that never tires but is always new, that always rouses yet always rests us! It holds in itself all that our hearts would say. It is sweet vigor to us in the morning, and in the evening it is contented peace. It is a song that is always singing itself deep down in the delighted soul. Angelic ears are ravished by it up in Heaven; and our Eternal Father Himself listens to it with adorable complacency. It is sweet even to Him out of Whose mind is the music of a thousand worlds. To be saved! What is it to be saved? Who can tell? Eye has not seen, nor ear heard. It is a rescue, and from such a shipwreck. It is a rest, and in such an unimaginable home. It is to lie down forever in the bosom of God in an endless rapture of insatiable contentment. (“The Mystery of the Precious Blood“)

Or, later in the same volume, when he writes the following passage.

Green Nazareth was not a closer hiding-place than the risen glory of the Forty Days. As of old, the Precious Blood clung round the sinless Mother. Like a stream that will not leave its parent chain of mountains, but laves them incessantly with many an obstinate meandering, so did the Blood of Jesus, shed for all hearts of men, haunt the single heart of Mary. Fifteen times, or more in those Forty Days, it came out from under the shadow of Mary’s gladness and gleamed forth in beautiful apparitions. Each of them is a history in itself, and a mystery, and a revelation. Never did the Sacred Heart say or do such ravishing things as those Forty Days of its Risen Life. The Precious Blood had almost grown more human from having been three days in the keeping of the Angels. But, as it had mounted Calvary on Good Friday, so now it mounts Olivet on Ascension Thursday, and disappears into Heaven amidst the whiteness of the silver clouds. It had been but a decree in Heaven before, a Divine idea, an eternal compassion, an inexplicable complacency of the life of God. It returns thither a Human Life, and is throned at the Right Hand of the Father forever in right of its inalienable union with the Person of the Word. There is no change in the Unchangeable. But in Heaven there had never been change like this before, nor ever will be again. The changes of the Great Doom can be nothing compared to the exaltation of the Sacred Humanity of the Eternal Word. The very worship of the glorious spirits was changed, so changed that the Angels themselves cannot say how it is that no change has passed on God. Somehow the look of change has enhanced the magnificence of the Divine immutability, and has given a new gladness to their adoration of its unspeakable tranquility (“The History of the Precious Blood“).

Or this passage from The Blessed Sacrament, taken from a friend who posted it on Facebook for the Nativity of Mary.

Let us mount higher still. Earth never broke forth with so gay and glad fountain as when the Babe Mary, the infant who was the joy of the whole world, the flower of God’s invisible creation, and the perfection of the invisible and hitherto queenless angels of His court, came like the richest fruit, ready-ripe and golden, of the world’s most memorable September. There is hardly a feast in the year so gay and bright as this of her Nativity, right in the heart of the happy harvest, as though she were, as indeed she was, earth’s heavenliest growth, whose cradle was to rock to the measures of the worlds vintage songs; for she had come who was the true harvest-home that homeless world.

His devotion to Our Lady was legendary. He was, in fact, the first English translator of St. Louis de Montfort’s famous text, True Devotion to Mary…and that even before he had become an Oratorian! He was also probably the first English author to think of Mary as Co-Redemptrix. In one of his hymns, he declares:

Mother of God! we hail thy heart,
Throned in the azure skies,
While far and wide within its charm
The whole creation lies.
O sinless heart, all hail!
God’s dear delight, all hail!
Our home, our home is deep in thee,
Eternally, eternally.
(Source)

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Lace holy card of the Immaculate Heart of Mary. Extremely Fr. Faber’s aesthetic. (Source)

Fr. Faber’s devotion to Our Lady extended beyond his prolific writings. He not only translated St. Louis’s book. In 1846, he undertook his own Marian consecration in the Holy House of Loreto. He had a tendency to refer to the Mother of God as “Mama.” A famous episode related by Monsignor Knox depicts Fr. Faber at one of his more florid moments. After a particularly high Marian procession at the Oratory, he was observed weeping. Without any care for who heard, he cried out, “Won’t Mamma be pleased?” (“The Conversion of Faber,” Pastoral and Occasional Sermons, 891).

None of this spirituality or the writing in which it comes to us fits our modern tastes. It is too perfumed, too sickly-sweet, too campy, too Victorian, too decadent, too redolent of pastel holy cards mouldering in antique prayer books. One critic puts it thus:

There are great slabs of passages, sometimes chapters at a time, which glow with ethereal light but have little content. Hypnotized by his own fluency Faber flows on and on, melodious and tedious…There are awful lapses of taste. (Chapman, quoted here).

And certainly, Faber cared not one shred for taste. The only thing that mattered was the salvation and sanctification of souls. Knox tells us that “‘Art for art’s sake’ had no meaning for him…if a bad verse would have more chance of winning souls than a good verse, down the bad verse would go” (“The Conversion of Faber,” Pastoral and Occasional Sermons, 891). There is much to criticize in this tendency from a purely aesthetic standpoint. Christians should commit themselves to the highest standards in all artistic and literary endeavors.

But it is hard not to like the man weeping after the procession; it is harder still to feel totally averse to passages that glow purple as the evening sky. One has the sense that Fr. Faber would have been a remarkable presence today, if only because his emotionalism and baroque, slightly kitschy aesthetic would have made him an ironic celebrity on Weird Catholic Twitter. Imagine what he would have done with memes!

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Santa Maria Bambina, Southern Italy. (Source)

Yet he would also be a sign of contradiction. We have seen a renewed emphasis on Muscular Christianity, with a proliferation of websites, associations, and thinkpieces all dedicated to restoring “authentic masculinity” and resisting the “feminization” of the liturgy. This is a particularly popular movement within the larger Traditionalist wing of the Church. In brief, the narrative usually runs as follows:

1) After Vatican II, the Novus Ordo initiated a new, “feminine” form of the Mass.
2) This innovation was a substantive capitulation to the Sexual Revolution.
3) Men don’t want to serve a feminized Church in a feminized liturgy, with altar girls, felt banners, versus populum, happy-clappy music, etc.
4) The vocations crisis of the last 30-40 years ensues.
5) As such, we need to restore more pronounced gender binaries and hierarchies along with the Usus Antiquior.

Some of this narrative may be correct. I refrain from judging its particular historical claims, social implications, or theological presuppositions.

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Midnight Mass at the Brompton Oratory. (Source)

Nevertheless, Fr. Faber confounds that entire way of thinking. He was anything but a “Muscular” Christian. His personality, style, and spirituality were so clearly “feminine” that his own nephew, the publisher Geoffrey Faber, considered him a probable closet case (see David Hilliard’s famous essay “UnEnglish and Unmanly,” page 5). Whether or not his (disputed) conclusions about the priest (and all the leaders of the Oxford Movement) are true, it suffices to say that Fr. Faber was far from the “authentically masculine” man fetishized by the new Muscular Christianity.  Yet liturgically he was known as one of the highest of the high, and his sons at the Brompton Oratory continue that admirable tradition. If nothing else, Fr. Faber’s legacy is the Oratory that still stand as a landmark of reverence, beauty, and transcendent holiness in the midst of postconciliar banality.

 

What’s more, Fr. Faber is not just a fine hymnodist and devotional writer. He penetrated deep mysteries of the faith. A thoroughgoing Scotist, he advocated the thesis (shared by this author) that Christ probably would have been incarnated anyway even if Adam had never fallen. And as the Church’s Mariology continues to develop, his arguments on behalf of Our Lady’s Co-Redemption may yet prove invaluable. Sophiologists should take note. Here is a man after our own heart.

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A holy card of Santa Maria Bambina. (Source)

Fr. Faber writes of Our Lady’s suffering in a passage worth quoting at length:

But this is not all. She co-operated with our Lord in the redemption of the world in quite a different sense, a sense which can never be more than figuratively true of the Saints. Her free consent was necessary to the Incarnation, as necessary as free will is to merit according to the counsels of God. She gave Him the pure blood, out of which the Holy Ghost fashioned His Flesh and bone and Blood. She bore Him in her womb for nine months, feeding Him with her own substance. Of her was He born, and to her He owed all those maternal offices which, according to common laws, were necessary for the preservation of His inestimable life. She exercised over Him the plenitude of parental jurisdiction. She consented to His Passion; and if she could not in reality have withheld her consent, because it was already involved in her original consent to the Incarnation, nevertheless she did not in fact withhold it, and so He went to Calvary as her free-will offering to the Father. Now, this is co-operation in a different sense from the former, and if we compare it with the co-operation of the Saints, their own co-operation, in which Mary herself alone surpassed them all, we shall see that this other peculiar co-operation of hers was indispensable to the redemption of the world as effected on the Cross. Souls could be saved without the co-operation of the Saints. The soul of the penitent thief was saved with no other co-operation than that of Mary, and, if our Blessed Lord had so willed it, could have been saved without even that. But the co-operation of the Divine Maternity was indispensable. Without it our Lord would not have been born when and as He was; He would not have had that Body to suffer in; the whole series of the Divine purposes would have been turned aside, and either frustrated, or diverted into another channel. It was through the free will and blissful consent of Mary that they flowed as God would have them flow. Bethlehem, and Nazareth, and Calvary, came out of her consent, a consent which God did in no wise constrain. But not only is the co-operation of the Saints not indispensable of itself, but no one Saint by himself is indispensable to that co-operation. Another Apostle might have fallen, half the Martyrs might have sacrificed to idols, the Saints in each century might have been a third fewer in number than they were, and yet the co-operation of the Saints would not have been destroyed, though its magnificence would have been impaired. Its existence depends on the body, not on the separate individuals. No one Saint who can be named, unless perhaps it were in some sense St. Peter, was necessary to the work, so necessary that without him the work could not have been accomplished. But in this co-operation of Mary she herself was indispensable. It depended upon her individually. Without her the work could not have been accomplished. Lastly, it was a co-operation of a totally different kind from that of the Saints. Theirs was but the continuation and application of a sufficient redemption already accomplished, while hers was a condition requisite to the accomplishment of that redemption. One was a mere consequence of an event which the other actually secured, and which only became an event by means of it. Hence it was more real, more present, more intimate, more personal, and with somewhat of the nature of a cause in it, which cannot in any way be predicated of the co-operation of the Saints. And all this is true of the co-operation of Mary, without any reference to the dolors at all…Our Lord had taken a created nature, in order that by its means He might accomplish that great work; so it seemed as if the highest honor and the closest union of a sinless creature with Himself should be expressed in the title of co-redemptress. In fact, there is no other single word in which the truth could be expressed; and, far off from His sole and sufficient redemption as Mary’s co-operation lies, her co-operation stands alone and aloof from all the co-operation of the elect of God. This, like some other prerogatives of our Blessed Lady, cannot have justice done it by the mere mention of it. We must make it our own by meditation before we can understand all that it involves. But neither the Immaculate Conception nor the Assumption will give us a higher idea of Mary’s exaltation than this title of co-redemptress, when we have theologically ascertained its significance. Mary is vast on every side, and, as our knowledge and appreciation of God grow, so also will grow our knowledge and appreciation of her His chosen creature. No one thinks unworthily of Mary, except because he thinks unworthily of God. Devotion to the Attributes of God is the best school in which to learn the theology of Mary; and the reward of our study of Mary lies in a thousand new vistas that are opened to us in the Divine Perfections, into which except from her heights we never could have seen at all.
(“The Compassion of Mary,” emphases in source.)

There is much in this text, and in so many like it, to warm a Catholic’s flagging devotion to the Mother of God. For that treasure alone, we should be grateful.

KitschyMaryCard

A Marian Holy Card. (Source)

As his writing on this subject demonstrates, Father Faber was in all things the most enthusiastic and the most Roman of Catholics. Yet his prodigious work on behalf of the Gospel, and the ardor with which he was wont to express himself, made him a popular figure even among Protestants. His hymns are sung by traditional and mainline Protestant churches even today.

A.W. Tozer held him in high esteem, going so far as to write:

Spinoza wrote of the intellectual love of God, and he had a measure of truth there; but the highest love of God is not intellectual, it is spiritual. God is spirit and only the spirit of man can know Him really. In the deep spirit of a man the fire must glow or his love is not the true love of God. The great of the Kingdom have been those who loved God more than others did. We all know who they have been and gladly pay tribute to the depths and sincerity of their devotion. We have but to pause for a moment and their names come trooping past us smelling of myrrh and aloes and cassia out of the ivory palaces. Frederick Faber was one whose soul panted after God as the roe pants after the water brook, and the measure in which God revealed Himself to his seeking heart set the good man’s whole life afire with a burning adoration rivaling that of the seraphim before the throne. His love for God extended to the three Persons of the Godhead equally, yet he seemed to feel for each One a special kind of love reserved for Him alone. The Pursuit of God, p. 40 (quoted here)

If a modern master of Protestant spirituality can appreciate the peculiar wisdom of this effusive little man, then what excuse do we have? The Church has entrusted him to our memory and will, I hope, some day do so formally at the altar of God.

I began this essay describing the various spiritualities that have animated the Church from its earliest days. Some remain vital, others have disappeared, and some may yet come back from quietude. The strange and fragrant spirituality Father Faber let out into the world may appear as one of those dried-up streams, never again to impart life to the desert of our world. We are not Victorians. Yet this great Oratorian offers his gift to us still. We are the ones who must accept it. I have little doubt that his life, example, and thought are welcome aids in our pursuit of Heaven.

Worried About the Church? Here Are Some Cardinals Playing with Cats!

HisEminencesFriend

His Eminence’s Friend, Andrea Landini. (Source)

And eating watermelons, and throwing cakes to swans, and delightedly casting books into the fire…all courtesy of 19th century anticlerical academic painters!

andrea-landini-temptation

See this Cardinal?
He’s not worried about the Church.
Look at him.
Look at his cat.
Look at the PRECIOUS LITTLE BOW on his cat.
(His cat, incidentally, is named Dom Paphnutius).
Just look at that watermelon.
He’s not worried about whether or not the Barque of Peter can handle a dangerous destabilization of the sacrament of marriage through the undermining of Canon Law in various quasi-magisterial documents and interviews.
His only worry is whether or not he can handle the PRECIOUSNESS of his cat’s little bow.

APlateofCakes

These two fine gentlemen are out for a stroll.
There seem to be sweets involved.
The Cardinal is very cross, perhaps because said sweets have attracted a flock of unwanted water birds. Or because the liturgy wars have been needlessly reignited by Rome itself and liberal bishops’ conferences are probably going to start forcing people to say “and also with you” and “one in being” in the English Novus Ordo.
I’m not really sure why. Probably the first reason.
Anyway, he should have expected it. Water birds are notorious for their sweet teeth.
Give ’em a few bonbons and they’ll love you forever.
Though tbh I’d be more angry at the other guy for not telling me where he got that fabulous scrolly-hat.
(Note: 19th century priests were very fashion-forward.)

VibertPreeningPeacock

Speaking of which, this Cardinal is too busy tearing up the runway to care about who’s tearing up the Reform of the Reform.

ChampaigneToast

Apparently this is “Champagne Toast,” which I guess is one of those new brunch fads like Avocado Toast.
Thanks for killing EVERYTHING, Millenials.

AQuietSmoke

Oh yeah I’m just enjoying ‘A Quiet Smoke.’ Haha.
Nope, I’m not thinking about Amoris Laetitia footnotes 329 and 351 at all.
Just enjoying my Cuban here.
Yessirree.
Sure is nice.

Also, don’t ever talk to me or my son again.

George-Crogart
What’s that? Oh, this old thing? Lemme see…why, it’s a relic! A piece of the Holy Napkin of the Trastevere!

Leo_Herrmann_Entre_intimesSo then I says to him, I says, why don’t we elect an Argentinian?

TeaTime
Mmmmmmyessss of course I could tell you about the Synod mmmmmbut I wouldn’t know anything mmmmmmmmmmmbout that….

BruneryParrot

This Cardinal is deeply disturbed that his new parrot’s first word is “Accompaniment.”

LandiniChampagne

Ah Lafontaine, so glad you could come here have some Dom Perignon for your loyal service
Uh sir I’m just here to tell you that the revolutionaries have subordinated the spiritual to the temporal authorit
Haha Lafontaine, always one with the jokes
But sir the Reds are comin
JUST TAKE THE DAMN CHAMPAGNE 

CardinalEureka.jpgHis Eminence is thinking up clever new ways to show #mercy and to #meetpeoplewheretheyare and to #judgenot and to #accompany the #youth who are #unemployed in the #interiorforum and to stay #relevant while #BeingChurch, all without ever using the word “sin.”

VibertTheDietHere I am.
Just sittin’ here.
With some milk.
Overcomin’ gluttony like a BOSS.

screams internally forever

Vibert emancipation
The Cardinal stared with horror…
Before he saw the bird, he was sure that the vase had been pushed by that mysterious, frightful ghost once spoken of in legend…
The dark creature that was said to stalk the halls of the Vatican even today…

The Spirit of the Council.

CardinalLookattheTimeWell, Pancrazio, just look at the time.
Half past four.
Funny…they told us they’d sing a new Church into being hours ago.
What a shame.

VibertCommitteeThese gentlemen are enjoying a roundup of the day’s tweets from spiffy, popular Jesuits.

VibertTheSiesta

Kasper? Never heard of him…

[P.S. I’m somewhat obsessed with this artistic genre. Images from here, here, here, here, here, here, here, here, here, here, here, here, here, here, here, and here]