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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Hippolytus of Rome & Eucharistic Prayer II

Fr. David Friel · August 17, 2014

HIS PAST WEDNESDAY, the Church throughout the world celebrated the memorial of Saints Pontian & Hippolytus, two of the great Roman martyrs of the third century. That Hippolytus was an anti-pope who was reconciled with the Church before his torture and martyrdom makes him a man of significant historical intrigue.

Again this year, I read with annoyance the brief biographical description offered about the saint in the Ordo: “Hippolytus, † 235/236; disputed author of Apostolic Tradition; Roman priest and stern rigorist; opposed Sabellianism and milder penitential discipline of Pope St. Callistus (14 Oct. [† 222]); first anti-pope (217-235); exiled to Sardinia with Pontian; source of Eucharistic Prayer II.” Here we have a case of half-truth and dated scholarship.

As was discussed during the question & answer session after a plenary lecture at this year’s Sacred Music Colloquium, the theory that Prex Eucharistica II is derived from the Apostolic Tradition of St. Hippolytus of Rome is dubious. Even less certain is the claim that this anaphora possesses the most ancient roots of all the canons.

The true authorship of the Apostolic Tradition is murky, and, at this point, to claim that the text is of Western origin is scholarly untenable. For those interested in the detailed exposition, I highly recommend an article by Matthieu Smyth (The Anaphora of the So-Called Apostolic Tradition and the Roman Eucharistic Prayer, Usus antiquior, Vol. 1 No. 1, January, 2010, 5–25). Therein the author clearly demonstrates how the structure and content of EPII betray the text’s Eastern sources. The Apostolic Tradition, by which EPII is “distantly inspired” (i.e., on which it is loosely based), is therefore not to be considered representative of early Christian liturgical tradition in Rome.

How did this Eastern anaphora from West Syria come to be in the Roman Missal of 1970? Answered simply, the Consilium formed after Vatican II set out to compile a canon that would be inspired by the text. The chief backer of this project was Dom Bernard Botte. Smyth explains:

The purpose was to enrich the patrimony of eucharistic prayers of the Church of Rome; that which was done was based on the belief of the Romanitas and of the supposed antiquity of this document, which Botte had defended with so much ardour. What a paradox for a document that in reality never had a relationship with the city and which in many respects was less ancient than the Roman Canon, the authentic eucharistic prayer proper to the Church of Rome!

The merits of including a canon of Eastern origin in the Missal celebrated throughout the West are good matter for debate. Yet the greater concern, I believe, is that this canon—the “Second Eucharistic Prayer”—has been repeatedly championed as the canon that links worshipers most closely with the liturgies of ancient Rome. This tired claim, at last, has been shown to be erroneous.

Smyth elaborates:

Those who would be more tempted to deplore the abrupt introduction in a hierarchical manner of a eucharistic prayer foreign to the Latin tradition in the midst of Western euchology would be able to console themselves by considering that the Prex eucharistica II is in reality an original composition, painted in bright colours, the creative fruit of experts of the Consilium who took the anaphora of the Diataxeis as their point of departure. Its features, stamped by their West Syrian structure and by their archaisms, are henceforth almost unrecognisable, but faithfully reflect the concerns of a small group of liturgists in the middle of the twentieth century.

The subject of the Canon of the Mass brings up a range of issues, which have been discussed on these pages before. For example, the canons saw a major change recently when Pope Francis directed that the name of St. Joseph be mentioned in every Eucharistic Prayer.

Also, there is the surprising answer to the question: does EPII really save time?

So, how did I celebrate the memorial of Saints Pontian & Hippolytus? The same way I do every year: with the Roman Canon.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: Consilium of Pope Paul VI, History of the Roman Canon, Liturgy of the Second Vatican Council Last Updated: January 1, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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President’s Corner

    PDF • “Music List” (4th Sunday of Advent)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 21 December 2025, which is the 4th Sunday of Advent (Year A). If such a thing interests you, feel free to download it as a PDF file. The ENTRANCE CHANT is the famous “Roráte Coeli” and the fauxbourdon setting of the COMMUNION is exquisite. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are available at the feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    PDF • Our Lady of Guadalupe (12 Dec.)
    The Responsorial Psalm may be downloaded as a PDF file (organist & vocalist) for 12 December, which is the Feast of Our Lady of Guadalupe. When it comes to the formulary for this Mass, it’s astounding how infrequently it’s included in official books. Prior to Vatican II, one had to search through “supplemental material” printed in the back of hand-missals and graduals. But since 1970, the feast is virtually nonexistent. According to the UNIVERSAL KALENDAR, 12 December is the “Feast of Saint Jane Frances De Chantal, Religious” (Die 12 decembris: S. Ioannæ Franciscæ de Chantal, religiosæ). Why should that feast overpower Our Lady of Guadalupe? In the United States, OLG is celebrated—and I’d assume in Mexico, Central America, South America, and Canada—but, as I said, the Propria Missae are virtually impossible to locate. I possess only three books which mention this feast.
    —Jeff Ostrowski
    Simplified Accompaniment (Advent Hymn)
    Many organists are forced to simultaneously serve as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult. I invite you to download this simplified organ accompaniment (PDF) which in the Father Brébeuf Hymnal is hymn #661: “Come, Thou Long-Expected Jesus” (for ADVENT). I’m toying with the idea of creating a whole bunch of these, to help amateur organists. The last one I uploaded was downloaded more than 2,900 times in a matter of hours—so there appears to be interest.
    —Jeff Ostrowski

Quick Thoughts

    PDF Download • “Santo Santo Santo”
    Those searching for a dignified, brief, simple, bright setting of SANCTUS in Spanish (“Santo Santo Santo”) are invited to download this Setting in honor of Saint John Brébeuf (organist & vocalist). I wonder if there would be any interest in me recording a rehearsal video for this piece.
    —Jeff Ostrowski
    Pope Leo XIV on Sacred Music
    On 5 December 2025, Pope Leo XIV made this declaration with regard to liturgical music.
    —Corpus Christi Watershed
    “Translations Approved for Liturgical Use”
    According to the newsletter for USSCB’s Committee on Divine Worship dated September 1996, there are three (3) translations of the Bible which can be used in the sacred liturgy in the United States. You can read this information with your own eyes. It seems the USCCB and also Rome fully approved the so-called NRSV (“New Revised Standard Version”) on 13 November 1991 and 6 April 1992 but this permission was then withdrawn in 1994.
    —Corpus Christi Watershed

Random Quote

“These liturgists protest that the choir must be encouraged, but in the same breath we are told its purpose is to lead the congregation in the singing of hymns and other unison music. These directions from non-musicians who have never created a musical sound—let alone direct a choir—are the cause of consternation among practicing musicians, both instrumentalists and singers.”

— Monsignor Richard J. Schuler (30 November 1967)

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