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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

A Flawed Translation Of Ritus Servandus?

Jeff Ostrowski · March 2, 2015

204 ad orientem ECENTLY, I posted an article containing screen shots of the 1572 Missale Romanum. Included were excerpts from an English translation of the Ritus Servandus sent to me by an FSSP priest.

Those who carefully examine the first section will see that the words “ad orientem” are not translated into English. They have vanished! Moreover, many of the commonly available translations—such as this one—omit the words ad orientem (“to the East”) in the English version. If you scroll to the bottom, you’ll notice the Saint John Cantius Website also eliminates those words. Why?

I don’t know why ad orientem was ignored in those English translations. 1

Perhaps Monsignor Schuler’s 1984 article—which we cited in early 2013—should be amended. Schuler wrote:

NOTHER FABLE INTRODUCED by the promoters of a new rite was the error that the new Mass had to be celebrated versus populum at a table altar erected near the congregation. Old altars were removed, even against the wishes of the people; new table altars were set up, some very poorly designed and even unworthy of the Mass celebrated on them. To promote the use of the altar versus populum, the English translation of the new missal of Paul VI even mistranslates the Latin original—or leaves out entirely the rubrics of the Missale Romanum—which in at least five places indicates that the priest should turn toward the people to say “The Lord be with you,” “Pray brethern,” “This is the Lamb of God,” etc. The Latin has sacerdos ad populum conversus dicit, but the English takes no notice of conversus which clearly means “having turned toward the people.” The norm for the new missal of Pope Paul VI is the priest at an altar which is not versus populum. Furthermore, the altar versus populum is not a new idea brought in by the reforms of Paul VI. The Mass could always be celebrated with the priest facing the people, as indeed it was in Rome and in many other places for centuries. True, it was not the usual way, but it did exist.

Perhaps Msgr. Schuler should have said: “The Mass could always be celebrated with the priest facing the people, if the Altar faced East…”

Somewhere, Msgr. Schuler talks about how he was one of the first priests in America to say Mass facing the people because he was serving at a Church whose (pre-conciliar) architecture demanded it. Looking through the various articles we’ve posted on the subject of ad orientem, I was unable to find that reference. He said something to the effect of, “It was supposed to be a cutting edge practice that would make such a difference to the people … but after a few months, the novelty of versus populum wore off.”

A VARIETY OF GUESSES can be found regarding the history of “Mass facing the people.” Some suggest that, on those rare occasions when Mass was celebrated versus populum, the entire congregation faced East during the Canon. That theory may be true, and is held by today’s serious scholars. Mentioning the 1572 rubric doesn’t change this. 2

One thing, however, is clear: the overwhelming evidence we possess has the entire congregation facing the same direction. That is to say, 99% of the evidence we possess shows the priest “with his back to the people.”

When all is said and done, it doesn’t matter which “side” you are on in a setting like this:

200 Raphael “The Mass at Bolsena”


The Mass is the Mass. Let me say it again: The Mass is the Mass.

However, celebration facing the people can distract the priest, who finds himself wanting to “entertain” the congregation. The following image—often cited as an instance of versus populum—shows the priest looking at a “wall.” That’s probably a good way to eliminate any element of entertainment, eh?

201 Versus Populum Mass



NOTES FROM THIS ARTICLE:

1   People tend to mimic whatever the FSSP does, and Fr. Dennis Duvelius seems to have made an English translation “cut and pasted” by others. As far as I know, Fr. Duvelius is still an FSSP priest. It would seem he simply overlooked the words ad orientem.

2   Whenever I mention this historical fact, I receive condemnatory emails. I am told to “keep quiet,” as if mentioning its existence will somehow promote ad populum celebrations. My answer is always the same: acknowledging the existence of something (when that existence is beyond dispute) is not wrong.

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

Filed Under: Articles Tagged With: Ad Orientem, Versus Populum Altars Last Updated: January 1, 2020

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on which source text is chosen and what each translator wants to emphasize. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF example) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski

Quick Thoughts

    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski

Random Quote

“Then, when the later great Germans arrived, Haydn, Mozart, and Beethoven—all secular composers—and tried their hands at sacred music, they set Roman Catholic words to music which in form and spirit is Protestant.”

— Sir Richard Runciman Terry (1912)

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