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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

The Centrality of the Sign of the Cross

Fr. David Friel · May 27, 2018

BOUT fifteen years ago (which, for someone my age, is quite some time ago), a priest pointed out to me the inescapability of the Sign of the Cross in the form of Mass we now call the Extraordinary Form. The Sign of the Cross, of course, is not absent from any of the Church’s liturgies, but the prominence of this gesture in the Extraordinary Form often catches the attention of people who participate in such a Mass without much familiarity with it. Similarly, by comparison to the current Book of Blessings, the Sign of the Cross is much more omnipresent in the older Roman Ritual.

I’ve written elsewhere about the centrality of the Communion of Saints in the Extraordinary Form, and I think something parallel can be said for the Sign of the Cross.

From signing oneself at the Misereatur to the incensing of the gifts during the offertory to the pouring of water and wine into the chalice over the cross on its base, the Sign of the Cross is one of the most notable features of the ceremonial ritual of the Extraordinary Form.

Consider what St. Francis de Sales has to say about the manifold applications of this most basic Catholic prayer:

The Sign of the Cross . . . [is] a plea for God’s help. St. Jerome, writing to his spiritual daughter, said, “With every work, with all of your comings and goings, may your hand make the Sign of the Cross.”

St. Ephraim said, “Whether you sleep or wake, travel or work, eat or drink, sail on the sea or cross a river, cover yourself with this breastplate, clothe and encircle your limbs with the saving sign, and evils will not meet you.”

And Tertullian: “At every change of place and movement, every going out and coming in, when dressing, when putting on shoes, at the bath, at the table, when carrying a lamp, upon entering a room, and in every action that life requires, we touch our forehead with the Sign of the Cross.”

“Make this sign,” St. Cyril said, “eating, drinking, sitting, standing, going outside, walking, in sum: in all of your affairs.” And, elsewhere, “Have therefore no shame of confessing the crucifix, but with confidence let us impress the Sign of the Cross with our fingers upon our forehead, and may the Sign of the Cross be made in all things, eating, drinking, coming in, going out, before sleep, sitting, standing, doing, and remaining idle. For it is a great defense, which for the sake of the poor is given away freely, and for the sake of the weak is made without difficulty, this grace being from God, as the sign of the faithful and to bring fear to the devils.”

St. John Chrysostom: “The Cross shines everywhere, in places inhabited and uninhabited.”

St. Ambrose: “All of our works should be done with the Sign of the Cross.”

. . . Who does not know that prayer is the general and universal tool of Christians, proper to all of our affairs and works, for every encounter and all of the actions of our life? The Sign of the Cross, then, is nothing other than a brief and lively exterior prayer by which God is invoked, and, as a result, it is proper for all of our doings and plans. 1

HE NUMEROUS Signs of the Cross in the Extraordinary Form do not strike me as examples of the “useless repetitions” (repetitiones inutiles) which Sacrosanctum Concilium sought to avoid (SC, no. 34). The ubiquity of this prayerful gesture seems, rather, to be an utterly simple method of praising God and a beneficial means of instructing the faithful. It teaches us how to conform every thought, word, and deed to Christ.

May the Cross, the great Sign of our salvation, become an ever more central feature of our Catholic life and prayer!




NOTES FROM THIS ARTICLE:

1   St. Francis de Sales, The Sign of the Cross: The Fifteen Most Powerful Words in the English Language, ed. and trans. Christopher O. Blum (Manchester, NH: Sophia Institute Press, 2013), 17–19.

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

Filed Under: Articles Tagged With: Extraordinary Form 1962 Missal, Traditional Latin Mass 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

    Pipe Organ “Answers” in Plainsong?
    In 2003, I copied a book by Félix Bélédin (d. 1895), who was titular organist—from 1841 to 1874—at the Cathedral of Saint John the Baptist in Lyon (France). In 2008, we scanned and uploaded the book to the Lalande Online Library. Nobody knows for sure when the book was published; some believe it first appeared in the 1840s. In any event, one who examines this excerpt, showing GLORIA IX might wonder why it says the organ answers in plainsong. However, the front of the book explains, telling the organist explicitly when to “respond in plainchant.” This is something called organ alternatim. Believe it or not, the pipe organ would take turns with the choir, playing certain texts instrumentally instead of having them sung. I’m not very well-versed in this—pardon the pun—but if memory serves, ORGAN ALTERNATIM was frowned upon by the time of Pope Saint Pius X. Nevertheless, French organists kept doing it, even after it was explicitly condemned as an abuse.
    —Jeff Ostrowski
    Music List • (5th Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 5th Sunday of Lent (22 March 2026). If such a thing interests you, feel free to download it as a PDF file. Traditionally, this Sunday was called ‘Passion’ Sunday. Starting in 1956, certain church leaders attempted rename both ‘Passion’ Sunday and ‘Palm’ Sunday—but it didn’t work. For example, Monsignor Frederick McManus tried to get people to call PALM SUNDAY “Second Passion Sunday”—but the faithful rejected that. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    Music List • (Holy Thursday, 2026)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for Holy Thursday, which is 2 April 2026. If such a thing interests you, feel free to download it as a PDF file. I’m not sure I’ve ever heard a more piercingly beautiful INTROIT, and I have come to absolutely love the SATB version of ‘Ubi cáritas’ we are singing (joined by our burgeoning children’s choir). I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski

Quick Thoughts

    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski

Random Quote

Dom Vitry never claimed chant could not be used successfully with English words. No one need take my word for it. He was a pioneer on the matter of vernacular adaptation, and I need only refer you to the many publications of his own “Fides Jubilans” press. What he said was that adaptation involved some mutilation, and that we were faced with one or the other.

— Monsignor Francis P. Schmitt (1963)

Recent Posts

  • From Sentiment to Sacrament: Reclaiming Sacred Music for the Wedding Mass
  • Pipe Organ “Answers” in Plainsong?
  • “Gregorian Chant Quiz” • 24 March 2026
  • “Versions of the Psalter” • Jeff Interviews Top Biblical Scholar: Dr. Mark Giszczak
  • PDF Download • “Ubi Caritas” (SATB)

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