French Church Research Articles

Serpents on parade

The serpent which was used to accompany plainchant in French churches from the beginning of the seventeenth century was a wooden lip-excited wind instrument with a wide conical bore and six fingerholes. Toward the end of the eighteenth century, the serpent found another role as a bass instrument in civilian and military bands. The traditional form of the church serpent was modified in various different ways to make it more convenient for playing on the march. This paper compares the acoustical and musical properties of the church serpent, the horizontal English military serpent, and several types of upright serpent designed for band use.

In This Issue

Other| September 01 2017 In This Issue Journal of the Society of Architectural Historians (2017) 76 (3): 274–275. https://doi.org/10.1525/jsah.2017.76.3.274 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation In This Issue. Journal of the Society of Architectural Historians 1 September 2017; 76 (3): 274–275. doi: https://doi.org/10.1525/jsah.2017.76.3.274 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the Society of Architectural Historians Search The inventive hybridity of early modern ecclesiastical architecture in France mixes the traditional and local forms derived from the medieval past with neoclassical ones imported from Italy and ultimately derived from antiquity. Although this combination of seemingly disparate styles generally characterizes sixteenth-century French churches, the flying buttresses of the Church of Sainte-Madeleine in Montargis remain exceptional in their classicizing reimagination of a conventional architectural typology. In Architectural Design as an Expression of Religious Tolerance: The Case of Sainte-Madeleine in Montargis, Maile Hutterer suggests that the unusual form of the Montargis buttresses derives from the political and religious circumstances of their creation. Calvinist Jacques Androuet du Cerceau I is the most likely designer of the Montargis buttresses, and they were constructed while Montargis was part of the holdings of Protestant sympathizer Renée de France. The designer's careful balancing of orthodoxy and heterodoxy paralleled Renée's carefully constructed position between Catholicism and Calvinism.... You do not currently have access to this content.

Architectural Design as an Expression of Religious Tolerance:

The inventive hybridity of early modern ecclesiastical architecture in France mixes the traditional and local forms derived from the medieval past with neoclassical ones imported from Italy and ultimately derived from antiquity. Although this combination of seemingly disparate styles generally characterizes sixteenth-century French churches, the flying buttresses of the Church of Sainte-Madeleine in Montargis remain exceptional in their classicizing reimagination of a conventional architectural typology. In Architectural Design as an Expression of Religious Tolerance: The Case of Sainte-Madeleine in Montargis, Maile Hutterer suggests that the unusual form of the Montargis buttresses derives from the political and religious circumstances of their creation. Calvinist Jacques Androuet du Cerceau I is the most likely designer of the Montargis buttresses, and they were constructed while Montargis was part of the holdings of Protestant sympathizer Renée de France. The designer's careful balancing of orthodoxy and heterodoxy paralleled Renée's carefully constructed position between Catholicism and Calvinism.

The contribution of human sciences to the interpretation of the use of acoustic pots in France and in bordering countries from the 12th to the 17th century

In occidental Europe, the technique of inserting acoustic pots in churches’ walls spread from the 12th to the 17th century. Acousticians consider this technique as a pre-scientific anticipation of Helmholtz Resonator. This point of view has been questioned by numerous authors, especially in the domain of historical sciences with solid arguments. Based on one of the largest enquiries on French churches with pots achieved these last 15 years by a multidisciplinary team, we propose a scheme of interpretation of this technique taking into account the point of view of archaeologists, musicologists, and linguists and involving experimentation with singers. We show that voice was the target of this technique, by analyzing the frequency of the pots and their positioning in churches in connexion to liturgy. Their symbolic meaning will also be presented in relation to the medieval conception of sciences and music. In the end, the controversial question of a deliberate action on the acoustic of the churches will also be enlightened by the analysis of texts, particularly the vocabulary of French 16th century translation of Vitruvius.

A la recherche d’un patrimoine liturgique : anglicanisme, gallicanisme et tridentinisme

In common with other churches of the Protestant and Catholic Reformations, the Church of England identified its own worship with that of the ancient Jewish Temple in Jerusalem and of the early Church. In the aftermath of Queen Mary’s restoration of Catholicism, the Church of England’s liturgical identity was also dominated by a severe Puritan reaction against all Catholic forms. In the last decade of Elizabeth’s reign, however, an ‘avant-garde’ of clergy emerged committed to greater ceremonialism in worship according to the Book of Common Prayer. The Laudian high churchmanship that emerged from this beginning was a movement in tension, looking simultaneously to the Patristic Church, the pre-Reformation Church in England (with a strong strain of ‘gothic survivalism’) and the even more risky world of the continental baroque. From the seventeenth to the nineteenth centuries, the Church of England was conscious of affinities with the Gallican, nationalist tradition in the French Church, but at either end of this period the Tridentine baroque would also prove seductively fascinating to many Anglicans. The use of the chancel screen was frequently a touchstone of this debate. While the Gallican tradition was effectively submerged within Roman Catholicism by the French Revolution and the First Vatican Council, the tension between the ‘Gallican’ and ‘Tridentine’ tendencies within Anglican high churchmanship remains alive to this day. In the nineteenth century, influential Anglican converts to the Church of Rome brought with them their contrasting convictions about the appropriate architectural setting for the liturgy. The architect A. W. N. Pugin, firmly committed to liturgical Gallicanism, advocated medieval music, architecture and Sarum ceremonial, while John Henry Newman and his fellow Oratorians insisted on an ultramontane liturgy and architecture. Through the creation of the Anglican Ordinariate within the Roman Catholic Church, the Anglican tradition continues to bear witness to the diversity of the Catholic tradition.

Catholic Missionary Education in Early Mandate Syria and Lebanon

This article examines the interaction of Catholic missionary education with the French mandate state in Syria and Lebanon in the 1920s. Taking a short cross-section of the Mandate era, the article argues that Catholic missionaries’ activity in the educational sphere must be considered from a meso-level analysis to complement micro-level focus on school activity and macro-level examination of imperial relations. Such an approach begins by acknowledging the particularity of the Levantine setting, wherein Catholic activity was well embedded into the locale. It also puts into evidence the utility of Catholic educational institutions in the region for the French Mandate state’s priorities. It nevertheless considers the autonomy of these institutions; for instance, the parallel hierarchy that the French Church itself represented, with its independent priorities. Finally, the article considers the significance of inter-imperial rivalry in the Levant leading to these institutions’ empowerment by French mandate authorities.

Pierre Robert ed. by Thomas Leconte

UNPUBLISHED MOTETS BY PIERRE ROBERT Pierre Robert. Motets manuscrits. Edition de Thomas Leconte. (Patrimoine musical francais. Monumentales, VI, 1.) Versailles: Editions du Centre de musique baroque de Versailles, 2015. [Table of contents, p. iii-iv; foreword in Fre., Eng., p. v-vi; introd. in Fre., Eng., p. vii-cviii; texts and translations, p. cix-cxvi; facsims., p. cxviii-cxxxv; score, p. 1104; crit. commentary in Fre., Eng., p. 106-22; appendices, p. 124-44. ISMN 979-0-707034-59-0. euro147.]Among the several series of music editions offered by the Centre de musique baroque de Versailles (CMBV), one finds the important Editions monumentales. This series of comprehensive critical editions will produce the collected works of six leading figures in the history of French sacred music of the seventeenth and eighteenth centuries: Marc-Antoine Charpentier (1643-1704), Henry Du Mont (16101684), Sebastien de Brossard (1655-1730), Etienne Moulinie (1599-1676), Henry Desmarest (1661-1741), and in Series VI, Pierre Robert (ca. 1622-1699). Robert, an important early figure in the development of the concerted French motet, has been little studied, and this volume offers a major contribution to the availability of his works, one that is most welcome.Pierre Robert served important cathedrals in France, including Senlis, Chartres, and Notre Dame in Paris, where he had received his early training, before his appointment to the Royal Chapel of Louis XIV in 1663, a post he shared with other important figures, including Du Mont. Robert and Du Mont cultivated the motet genre in the Royal Chapel for two decades, just as the grand siecle was unfolding, laying the foundation for the motet forms that were to flourish in French church music for the next century. They both retired in 1683, just as the court was moving to Versailles, and the musicians of the Royal Chapel were segueing to Lalande and the others who became the new sous-maitres after the famous competition of 1683.In the mid-1680s Louis XIV ordered the publication by Ballard of fifty-six motets in part-books, leading to the wide distribution throughout the kingdom of the motets a grand choeur of the Royal Chapel. Those publications included twenty motets by Du Mont (1686), twelve by Lully (1684), and twenty-four by Robert (1684), works that provided models for church music composers all over France. The motets published in 1684 became Robert's best known, but the volume in hand holds other works, specifically all of Robert's polyphonic pieces that survive only in manuscript form-works that have received little attention since the time of Louis XIV. This critical edition holds 133 pages of front matter in French and English, including a foreword, introduction (containing a description of the editorial method), texts and translations (from the Latin to French and English), and a generous provision of ten facsimile plates from the manuscripts.This volume, the first in a projected series of seven volumes to be devoted to Pierre Robert, contains fourteen distinct works (including one, a Regina coeli, that is a revision or adaptation of an earlier version). Appendices offer variant versions of two of the Elevations, plus the texts of six Elevations by Robert for which the music is lost. The fourteen works fall into two sets offered in chronological order: first are two early motets for two choirs (i.e., a 8) from the time of Robert's service to the Petitsperes de Notre-Dame-des-Victoires (164362), along with the second version of the Regina coeli, a setting for five voices. These are followed by eleven Elevations for the Royal Chapel from the 1663-1683 era, including five for two voices and continuo, then a group of four Elevations for three and four voices, and finally, two works for one and two voices respectively with symphonie : instrumental forces of two violins and continuo. Insofar as these latter two works are very early examples introducing instruments in the Mass in the Royal Chapel, they warrant careful study for those interested in the development of the concerted French motet as undertaken by Du Mont, Robert, Lully, and then Lalande and the other composers of the next generation. …

Fenomén nových komunit v katolické církvi a příklady z Francie

This article explores the phenomenon of new communities within the Catholic Church. Particular attention is paid to communities that originated in France during the 20th century. The aim is to provide a basic reflection of this issue which has not yet been systematically studied. The article reflects the theological significance of the new communities, particularly in relation to the Second Vatican Council. It also addresses the termino- logy and temporal definition of the phenomenon. It consequently reflects on the context of the French church and society, as well as certain critical aspects of these new communities. The last section outlines a basic classification of these communities that was created according to the main characteristics of their spirituality, as well as a brief overview of the most significant communities. The article concludes with suggestions for further theological research on the phenomenon.

Shakespeare: A Poet for all Seasons

Shakespeare: A Poet for all Seasons

Henri de Maupas du Tour: The Funeral Oration for Vincent de Paul, 23 November 1660 by Edward R. Udovic, C.M.

Reviewed by: Henri de Maupas du Tour: The Funeral Oration for Vincent de Paul, 23 November 1660by Edward R. Udovic, C.M. Seán Alexander Smith Henri de Maupas du Tour: The Funeral Oration for Vincent de Paul, 23 November 1660. Introduction, Translation, and Annotation by Edward R. Udovic, C.M. (Chicago: Vincentian Studies Institute, De Paul University. 2015. Pp. 223. $29.99 paperback. ISBN 978-1-936696-07-9.) To the undergraduate, it may seem extravagant to devote an entire book to a single speech. But Udovic’s attention in this elegant volume warrants the labor, and not simply because St. Vincent de Paul’s career remains an intriguing chapter of early-modern French Catholicism. Scholars are only just now beginning to submit the life of Vincent and the ministries of his followers to more heightened scrutiny, and justly so. The bolder accomplishments of Vincent’s life are now well publicized: for instance, his foundation of the Congregation of the Mission in 1625 and his establishment, along with St. Louise de Marillac, of the Daughters of Charity in 1633. Yet historians have much work to do in measuring his exact influence in French dévot circles, the extent of his collaboration with lay patrons, and the cumulative effects on the French Church of his lengthy career. Udovic begins here with an essential part of this task: probing the utterances, myths, and assertions advanced by contemporary commentators like Henri de Maupas du Tour. Starting with the work by Maupas du Tour (1606–80) is eminently sensible: he was a seasoned disciple and collaborator of Vincent, he was prominent among dévot circles in his own right, and he was the first to publicly comment on Vincent’s life and merits. The reader would do well to approach this work with two observations in mind. The first is that Vincent remains a difficult subject to the scientific biographer, and second that Maupas du Tour’s eulogy is not a scientific biography. Vincent was notoriously restrained in his correspondence and sometimes cryptic; so interpreting his life makes acute demands on the analyst. Moreover, when he wrote his oration, Maupas du Tour assuredly did not consult the more than 30,000 letters Vincent bequeathed to historians. As well as remembering the enormous scope of this particular subject’s activity, Maupas du Tour’s text must also be foregrounded with the special exigencies [End Page 623]placed on the eulogist in composing a life prior to Vincent’s canonization in 1737, added with the tailored literary demands of the seventeenth century. In recognition of these requirements, this work cannot simply be a transliteration and translation of a primary document, however welcome such a labor would be. In fact, Udovic not only translates the text but also excavates far beneath it to give rich context and depth to the eulogy’s many biblical, literary, and historical components. Succeeding an opening chapter that helpfully provides new information on the author of the eulogy (and which usefully highlights Maupas du Tour’s own reforming credentials in the French Catholic Church), Udovic then uses particular passages from the panegyric to elucidate the eulogist’s precise methods and objectives. This is highly beneficial, for the reader is then well prepared to tackle the oration with a better understanding of the core ingredients of saintliness and sainthood to observers in the early-modern era. A final preambular chapter furnishes a cogent analysis of Vincent’s cause of canonization, reminding the observer that Maupas du Tour’s eulogy was the initial step in lengthy investigations (1660–1737) into Vincent’s virtue and his broader contributions to the French, and universal, Catholic Church. This book is to be heartily recommended to all scholars of early-modern Europe and especially students of its cultural and religious heritage. Because it provides close textual analysis of a primary document from the early-modern period, this volume will be an excellent edition to any history syllabus, and will prove extremely useful as a teaching tool in the classroom. Finally, the text is accompanied by an array of impressive contemporary images and portraits drawn from the ever-growing Vincentian Studies Collection at DePaul University, testifying to...

Linguet’s Lettre du Mandarin, a Forgotten Apology for the Jesuits: The Mandarin Wei Zheng as a Model

Abstract The Jesuit order was vehemently spreading the gospel since it was founded, and China was a major target. After 1601, many Jesuits had arrived in China and their learned reports to their headquarters accumulated rapidly. The Jesuits adapted to the Chinese scholar-officials called Mandarins and their Confucian theories, leading to a conflict with the French church, the Pope, and the Chinese Emperor. Throughout Europe, the Jesuits further played a prominent role in society: as educators, teachers, and advisors of royalty. Seventeenth-century France, troubled by a fundamental socio-cultural reorientation, class struggles and wars, blamed them for holding such esteemed positions and this resentment grew shortly before the French Revolution. The writer Simon-Nicolas-Henri Linguet takes an apologetic position in their lawsuit for the Parlement de Paris of 1762 in the Lettre du Mandarin. Bibliographic and biographic details are provided. The “opening part” shows the morally high position of Mandarins such as Wei Zheng, an image produced on the basis of Jesuit correspondence, and it denotes the European trend of “Chinoiserie.” This part is here presented in an English translation and richly commented on. The ideas of “Chinoiserie” are here illustrated with works from the literature. The Jesuits and their humane advocate Linguet lost the unique case, but it is concluded that the image of the Mandarin as a rational and moral man is portrayed as a model for a new French society.

Encounter: A Statue-Column at the Glencairn Museum

Gesta v54n2 (Fall 2015). 0031-8248/2015/7703-0004 $10.00. Copyright 2015 by the international Center of Medieval Art. All rights reserved. t hose of us who study medieval architectural sculpture are aware of the multiple lives it often has, intersecting with our own lives professionally and personally. Much of this sculpture remains in situ on European buildings, but some of it has migrated to museums, where capitals, tympana, and other pieces have a new life in a modern building. in north America, not only are such carvings removed from their original settings but they have also been transferred to a geographic region that lacks original medieval buildings. Encounters with such sculpture are shaped by the nature of both its new and its original setting. A mid-twelfth-century statue-column of a queen currently in the Glencairn Museum in bryn Athyn, Pennsylvania, exemplifies such complexities of reception. The work can be seen against a neutral background in a photograph that emphasizes the sculpture itself (Fig. 1). it represents a haloed female, crowned and veiled, who holds a book. The figure’s hair is parted in the middle and styled in two long braids. under a mantle she wears a bliaut, or tunic, over a chemise that currently extends to the bottom of the figure. The neck of the chemise has a high collar and is fastened with an elaborate brooch, and the bliaut is cinched with a girdle knotted below the abdomen. This garb is typical of statue-columns from the mid-twelfth century that represent women. As art historians, we want to place such a figure in its original context. investigation reveals that this statue-column of a queen came from the French church of Saint-Thibaut in Provins (Seine-et-Marne), which was largely de stroyed by the early nineteenth century. Saint-Thibaut, dedi cated to a local saint, originally had two portals of the type called “royal” or “early Gothic.” One of the defining elements of such entrances is the statue-column, a combination of abstract architectural element and human figure. The Provins church seems to have had two trumeaux of the saint, one for each of the two doors; in one he wore military garb and in the other ecclesiastical robes. (One much-battered trumeau can currently be seen at the local Musee de Provins et du Provinois.) in the upper portal, kings and queens accompanied the saint in the jambs. The Glencairn queen was one of these statue-columns. A program that pairs biblical kings and queens with a local saint in the trumeau is found at several early Gothic portals, including the church of Saint-Loup at St.-Loup-de-naud near Provins. because these royal jamb figures, including the Glencairn queen, are shown in clothing worn in contemporary courts,1 they originally represented a fusion of characters from salvation history with recent kings and queens of France. One of the defining characteristics of this queen was its identity as an architectural element. This aspect was largely lost, however, when the figure was separated from its setting and became an independent sculpture. The Provins statuecolumn was purchased by raymond Pitcairn from the dealer George demotte, who sold him the sculpture called “princess” in a bill of sale dated 6 February 1923. Further alterations of the queen probably occurred during its time with demotte. The condition of the figure when the dealer acquired it is unclear; perhaps it was similar to that of the battered trumeau still in Provins. its lower parts are missing, which suggests it was cut down at some point. it is likely that demotte, following his usual practice, had the figure recut to increase its appeal to potential buyers, and it was in this “improved” state that the queen arrived in the united States.2 The purchaser and his family were members of the Swedenborgians’ General Church of the new Jerusalem, or new Church. Pitcairn’s father, John, an industrialist who founded Pittsburgh Plate Glass, was devoted to creating a community for the church in bryn Athyn that would ultimately

Beyond blasphemy or devotion: art, the secular, and Catholicism in Paris

In this article I explore the relationship between the secular and ‘cultural’ Catholicism in France through the lens of a contemporary art exhibit displayed at a new project of the French Catholic Church. Visitors’ varied responses to the exhibit, I argue, ultimately reinforced the organizers’ claim that the activities that occur within this ‘non‐religious’ space of the French church are self‐evident aspects of a broadly recognizable and ‘secular’ French or European culture.

French Catholic Spirituality and the Nineteenth-century Korean Church

The role played by French Catholic missionaries in overseas evangelization during the nineteenth century was considerable. Their significance was not limited to their numerical contribution—the French Church is viewed as subscribing to a rigorous spirituality characterized by contempt for the world. This spirituality is seen, in the case of the Catholic Church in Korea, as having created a ghetto mentality, which dominated the Church until the 1970s. However, the spirituality of the French Church was more nuanced and varied than this model suggests. The Counter-Reformation ensured that the salvation of the individual soul became paramount, while the French Revolution encouraged the French Church to rediscover its commitment to overseas missions. The spirituality passed to the Korean Church might assist its confessors and martyrs in enduring persecution, but it gave to the Church as a whole the concept of charity and the imperative to relieve the suffering of others.

Religious Books, the French Revolution and the Printer Jean-Baptiste Collignon in Metz

When the Revolutionary government in France declared Freedom of the Press in 1789 it did not anticipate the flow of counter-revolutionary pamphlets attacking its decision to nationalize the French Church and require all clergy to swear an oath to the Civil Constitution of the Clergy. This article examines the conditions surrounding the printing of these religious pamphlets by investigating the career of one provincial printer in the border town of Metz—Jean-Baptiste Collignon—who worked with émigré bishops to produce them and who was guillotined in 1794 for counterrevolutionary activities. The authors explore the production and distribution of religious pamphlets, the ideological commitment of revolutionary printers, and the regional nature of censorship in the early French Revolution.

The Catholicisms of Coutances: Varieties of Religion in Early Modern France, 1350–1789, by J. Michael Hayden

The Catholicisms of Coutances: Varieties of Religion in Early Modern France, 1350-1789, by J. Michael Hayden. McGill-Queen's Studies in the History of Religion. Montreal & Kingston, McGill-Queen's University Press, 2013. xvi, 368 pp. $100.00 Cdn (cloth). Scholars of Early Modern Europe certainly will appreciate this ambitious and convincing contribution to the study of the history of religion. The book complements the author's extensive work on the Catholic reform in France that he co-authored with Malcolm Greenshields, 600 Years of Reform: Bishops and the French Church, 1190-1789 (Montreal and Kingston, 2005). From there, Hayden has changed the lens to focus on one diocese, Coutances, from 1350 to 1789. This book takes the reader to the varieties of (or Catholicisms) that evolved in the diocese over several centuries, peering deeply into the multiple layers of belief, behaviour, and practice. Hayden stresses the importance of to Early Modern people, as purely a central defining element in a person's identity. Religious belief and practice were shaped by historical events across this period: the Hundred Years' War, the Protestant the Wars of Religion, the two Catholic Reformations, and to a lesser extent the Enlightenment. Of these, what shaped Catholicisms the most is what is called the Second Catholic Reformation, a movement that was launched by the Council of Trent and then gained momentum and a distinct national character in France in the seventeenth century. Rather than positing a dichotomy between elite religion and popular religion, Hayden delineates a symbiotic relationship between official Catholicism and the variety of Catholicisms that contained aspects of that official religious expression but were coloured by various traditions and myths. By the outbreak of the French Revolution, the ecclesiastical efforts to reform lay Catholic beliefs and practices had succeeded in forming a not-uncritical but stalwart loyalty to the Catholic one that allowed for variants. Hayden investigates a large area of ecclesiastical territory and he is sensitive to the regional variations in the diocese. Religious belief and practice were less intense in some areas, a factor he attributes to the penetration of the Protestant faith (although he notes the difficulty in determining which was cause and which was effect: weak Catholic devotion or Protestant infiltration). The book can be divided into several parts. The first part contains two foundational chapters, one outlining the diocese's basic features: its physical and linguistic geography, its history as well as the precarious condition of the common people. The other chapter sketches the official Catholic belief structure and the devotional expectations that upheld it, all of which lay atop a pre-existing layer of unofficial belief that revolved around nature and the various approaches to propitiate it. The next part comprises four chapters on the Catholicisms of the clergy: i) the bishops: all adherents of the main tenets of official but in practice evolving generally from a group of worldly, non-resident men in the later Middle Ages, to a series of Tridentine-inspired reforming bishops, and then a group of competent but complacent bishops in the eighteenth century; ii) the cathedral chapter and the archdeacons, the former concentrating on maintaining their privileges and the latter rooting their in a devotion to reform; iii) the religious orders: their credibility and survival into the later eighteenth century depended on the extent to which they could attach their to reform and to engagement with the laity, either through preaching or teaching; iv) the secular priests: they became increasingly separated from the laity but still aligned more neatly with reform by the eighteenth century, in spite of their lower socio-economic condition and lifestyle relative to their superiors. …

ZeBible : Villiers-le-Bel: Societ́éBiblique Franca̧ise - Bibli’O, 2011

ZeBible is a French study Bible that the French Bible Society published in 2011 after 7 years of work with the investment of 620,000 Euros. The most salient feature of this Bible is that the French pastors have participated as authors and editors in this project for adolescents of 15-25 years old and non-Christians. ZeBible is tailored completely for their use from its name to its design and communication with these readers. This Bible approaches readers with contents in interesting language so that they can be understood easily. It is thus natural that ZeBible is much more concerned with political, economical, and ethical issues than theological comments in comparison with other study Bibles. Another strong point is that this study Bible is not a biblical commentary in its miniature form. ZeBible is a symbol of ecumenical work in French churches. The French Bible Society stands on the biblical thought that the Bible is not a place of competition and fight, but a place of reconciliation and communication between different religious orders and different religions.<BR> Korean Churches need a Korean study Bible written by pastors for particular groups and multi-cultural members in the social and pastoral situations of Korea. To achieve this aim, ZeBible may function as a good model for a Korean study Bible.

J. Michael Hayden. The Catholicisms of Coutances: Varieties of Religion in Early Modern France, 1350–1789.

As J. Michael Hayden states in the preface, The Catholicisms of Coutances is in many ways a companion volume to 600 Years of Reform: Bishops and the French Church, 1190–1789 (2005), coauthored with Malcolm Greenshields. Whereas the earlier volume addressed the entirety of the French church, this book has as its subject the Norman diocese of Coutances from 1350 to 1789. The stated aim of the book is to provide “a history of the changes in religious beliefs and practices of the people living in [the] diocese during the early modern period” (p. 3). The goal, therefore, is not a history of institutional religion, nor of “popular” religion in its manifold forms, but of the interplay between the two. To that end, and to escape the error that early modern Catholicism operated in only a single mode, the author employs the concept of “catholicisms” in his description and analysis of the varied forms of religious belief and practice.

Le dossier de Marie-Madeleine dans les Acta Sanctorum des Bollandistes

The dossier of Mary Magdalene in the Acta Sanctorum of the Bollandists. In his edition of Usuard’s Martyrology (1714), the Bollandist Jean-Baptiste Du Sollier stated that he agreed with the opinion that a distinction had to be made between the anonymous sinner mentioned in the Gospel of St. Luke, and Mary of Bethany and Mary Magdelene. This thesis is held by Adrien Baillet and Claude Chastelain, among others, as well as by the French Church in general. However, when the fifth volume of the Acta Sanctorum was published in July 1727, in the section devoted to Mary Magdalene the traditional view was adopted, i.e. that held by the majority in the West, which was inherited from Gregory the Great. According to this the three women are one and the same person. Moreover, as opposed to the view of Jean de Launoy, the Provençal legend regarding the saint’s relics was accepted. In all of this he adopted, it would seem, an anti-Gallican position.

Cassandra’s Curse: Louis Bouyer, the Liturgical Movement, and the Post-Conciliar Reform of the Mass

Antiphon 18.3 (2014) 254–300 Cassandra’s Curse: Louis Bouyer, the Liturgical Movement, and the PostConciliar Reform of the Mass1 John M. Pepino Why pay any attention to Fr. Louis Bouyer, of the French Oratory? After all, he is no longer much read in liturgical circles; at most his Liturgical Piety and Eucharist are used among them as reference books, mainly for their biting comments on Dom Guéranger and pre-conciliar liturgical habits. Certainly his influence in his own country, after a high point in the 1950s, utterly waned a few years after Vatican II and he became so ostracized in the French Church that, when the French-language version of the journal Communio approached him to join their editorial board, he demurred, fearing that the association with his name might harm the enterprise in the sight of the bishops. In fact, after his death in 2004, his close friend and collaborator Jean Duchesne wrote a brief article (he has since written a book to present Bouyer’s life and thought and published the French version of Bouyer’s Memoirs)2 entitled “Who is Still Afraid of Louis Bouyer?”3 1 For a shorter paper on Bouyer and the liturgy (and the basis for this article), see “Louis Bouyer and the Pauline Reform: Great Expectations Dashed” (paper presented at the annual meeting of the Church Music Association of America, St Paul, MN, October 14, 2013), forthcoming in Sacred Music 141.4 (Winter 2014). A version of the present article was delivered as a lecture during Easter week 2014 at the Église Saint-Irénee in Montréal, at Saint Paul University in Ottawa, and at the Église Saint-Zéphirin-deStadacona in Québec, as well as during the Sacra Liturgia Summer School at the Monastère Saint-Benoît in La Garde Freinet, 18 July 2014. For an approach to Louis Bouyer and the liturgy with a different focus, see Alcuin Reid, “The Reformed Liturgy: A ‘Cadaver Decomposed’? Louis Bouyer and Liturgical Ressourcement,” in Antiphon 16 (2012) 37–51.. 2 Jean Duchesne, Louis Bouyer (Perpignan: Artège, 2011) and Louis Bouyer, Mémoires, ed. Jean Duchesne (Paris: Cerf, 2014). 3 Jean Duchesne, “Qui a encore peur de Louis Bouyer?” in Communio 30 (2005) 73–85. 255 CASSANDRA’S CURSE: LOUIS BOUYER We shall see that Fr. Bouyer had been an important voice in the preconciliar liturgical movement in France; the Second Vatican Council’s Constitution on the Sacred Liturgy, Sacrosanctum Concilium, reflects if not some of his views, certainly views that he had made his own and which he held most dear. Lastly, he was a member of the committee in charge of elaborating the Missal that Paul VI was to promulgate in 1969, the Consilium (the “little consilium” as he called it, as opposed to the “Big Concilium”, i.e. Vatican II), headed by the Vincentian Father Annibale Bugnini: Bouyer and Bernard Botte put together what is now the Eucharistic Prayer II. In other words, when it comes to the history of the liturgy in the twentieth century, and even the point that the liturgy has reached in the West in the early twenty-first century, Bouyer counts. Add to this that Bouyer was a man of the highest standards of intellectual and personal integrity. He saw things clearly and expressed himself bluntly; he seems to have been utterly void of what is known as human respect; he was allergic to fads and ill-thought-out enthusiasms.4 This cost him: he missed a lifetime award for his production in theology because of his clairvoyant but under-read Decomposition of Catholicism, a lament of how the Church was faring in 1968 (he would go into the causes of the collapse of Catholicism in his Religieux et clercs contre Dieu of 1975); he also turned down the cardinal’s hat because it meant having to go and see Paul VI (who invited him to spend a few weeks at Castel Gandolfo), and he knew that if he went, he would have to tell the pope how disastrous for the Church in France his episcopal nominations had been—not to mention the revolt on the part of 4...