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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

“Christ as Creator” • Remarkable Findings in Ancient Hymns !

Jeff Ostrowski · November 5, 2020

HILE INSTRUCTING a certain lady in the faith, Fulton J. Sheen came to the lesson on the Trinity. He began by telling the lady: “The Holy Trinity is a mystery, and when I finish you won’t understand it.” After about twenty minutes, the lady said: “You’ve done a marvelous job, and now I understand the Trinity perfectly!” Sheen immediately replied: “Then I didn’t explain it correctly, because it should be a mystery.” 1 Many readers will recall Sheen’s statement while narrating a Mass filmed on Easter Sunday (1941) at Our Lady of Sorrows church in Chicago:

“The sign of the cross is made frequently by both the celebrant and the people thus recalling not only the Holy Trinity—the Father Who created us, the Son Who redeemed us, and the Holy Ghost Who sanctified us—but also the cross upon which Christ died.”

Below I demonstrate a very common theme in ancient Catholic hymns: CHRIST AS CREATOR.

Christ As Creator?

It would not be fitting for finite creatures to be capable of comprehending the nature of Almighty God. Archbishop Sheen has explained the Trinity with reference to love—and this is comforting, since our hearts require love. (The year 2020 seems particularly devoid of love, if I may say so.) Throughout the centuries, artists have attempted to depict the Most Holy Trinity; e.g. an extremely ancient picture of the Trinity looks strange in our eyes…perhaps someone like my colleague Wilfrid Jones could explain what’s going on there. Readers might recall that I recently posted 15th-century manuscript—scroll to the 2nd half of that article—wherein the Holy Ghost is depicted as a Man wearing a white Alb with green Stole:

Image Title: “Man of Sorrows Returns to the Trinitarian Throne”

Proof • From Catholic Tradition

A footnote on page 421 in the Saint Jean de Brébeuf Hymnal explains the “communicatio idiomatum” of the Most Holy Trinity. A good paraphrase of the Brébeuf footnote is given by Father Joseph Aquinas Byrnes (d. 1961), who served as a Chaplain during the First World War: “The external works of the Blessed Trinity are in common. Hence the act of creation may be ascribed to any of the three Persons, as it is here ascribed to Christ.” Saint John’s Gospel says of Christ: “All things were made by Him, and without Him was made nothing that was made.” Beginning on page 418, the Brébeuf pew edition contains numerous settings of “Rex Sempiterne Domine,” from the 5th century. (The title after 1631AD became “Rex Sempiterne Caelitum.”) Notice how this hymn—1,500 years old—refers to JESUS CHRIST as our Creator:

Beginning on page 256, the Brébeuf hymnal has numerous settings of “Jesu Nostra Redemptio,” from the 7th century. (The title after 1631AD became “Salutis Humanae Sator.”)

Beginning on page 526, the Brébeuf hymnal has numerous settings of “Vexilla Regis Prodeunt,” from the 6th century.

Beginning on page 76, the Brébeuf hymnal has numerous settings of “Auctor Beate Saeculi,” from the 18th century.

Beginning on page 4, the Brébeuf hymnal has numerous settings of “A Solis Ortus Cardine,” from the 5th century.

Beginning on page 264, the Brébeuf hymnal has numerous settings of “Jesu Redemptor Omnium,” from the 6th century. (The title before 1631AD had been “Christe Redemptor Omnium.”)

Beginning on page 180, the Brébeuf hymnal has numerous settings of “Conditor Alme Siderum,” from the 7th century. (The title after 1631AD became “Creator Alme Siderum.”)

Finally, if you look in a Roman Catholic book published in 1706AD, you will see a very free translation of the “Pange Lingua” of Saint Thomas Aquinas. This translation was reprinted many times in Catholic publications. Notice how it says: “ransom for the souls He made” speaking of Our Lord Jesus Christ.

Page 668 of the Brébeuf hymnal has a beautiful hymn by Aurelius Prudentius—a Christian Poet who died in 413AD—which is called “Corde Natus Ex Parentis.” One of the verses says: Ipse jussit et creata, dixit ipse et facta sunt… (“By His Word was all created; He commanded and ’twas done…”) Saint John’s Gospel (1:10), speaking of JESUS CHRIST, says the following: In mundo erat, et mundus per ipsum factus est, et mundus eum non cognovit. (“He was in the world, and the world was made by Him, and the world treated Him as a stranger.”)

Many other ancient hymns contained in the Brébeuf hymnal could be cited when it comes to CHRIST AS CREATOR. For example, cf. the first verse of “Audi Benigne Conditor,” a 6th century hymn by Pope Saint Gregory the Great, which starts on page 88 in the Brébeuf hymnal. Another hymn from the 6th century is “Pange Lingua” (by Bishop Fortunatus), and its 4th stanza says: Missus est ab arce Patris | Natus, orbis Cónditor. (“This world’s Creator left His Father…”) See also verse 3 of “Quem Terra Pontus Aethera” and verse 1 of “O Gloriosa Domina.” Indeed, the list of examples is practically endless.

Holy Ghost As Creator

Here’s a Roman Catholic Hymnal from 1807 printed in America that refers to the Holy Ghost as our Creator:

The Brébeuf hymnal actually shows photographs of the ancient (Roman Catholic) Primers, which are extremely rare. Anyone interested in hymnody should immediately pick up a copy of the Brébeuf pew edition, if for no other reason than the photographs of a Roman Catholic Primer—in English and Latin—from 1599AD !!!

Permit me to close with “Cónditor 2 Alme Síderum” from a Medieval manuscript, which is marvelous in its beauty:


NOTES FROM THIS ARTICLE:

1   If you have not read Sheen’s explanation of the Holy Trinity (“The Divine Romance”), I highly recommend it. He draws a brilliant analogy to the human mind, as well as answering Plato’s question (four centuries before Christ): “If there is but one God, whom does He love?”

2   I included the correct accent, because “condítor”—accented on the penultimate syllable—means somebody who embalms dead bodies!

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

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Filed Under: Articles, Featured Tagged With: Christ as Creator, Jean de Brebeuf Hymnal Last Updated: May 13, 2024

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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

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

“The priest coming nearer to the faithful; communicating with them; praying and singing with them and therefore standing at the pulpit; saying the COLLECT, the EPISTLE, and the GOSPEL in their language; the priest singing in the divine traditional melodies—the Kyrie, the Gloria, the Credo—with the faithful: these are so many good reforms that give back to that part of the Mass its true finality.”

— Archbishop Marcel Lefebvre (1965) praising vernacular readings at Mass

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