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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 Ascension Depicted in the Rabbula Gospel Book

Fr. David Friel · May 13, 2021

NCIENT Christian manuscripts vary quite a bit. Some are practical, while others are luxury items. Some are spartan in appearance, but others are rife with decorative elements. Some are thick, and some are thin. They can be difficult to categorize, as well, since their creators often did not have in mind the formal genres we like to identify today (e.g., missal/sacramentary, book of hours, antiphonary, epistolary, Gospel book, capitularium, etc.).

One very famous manuscript is the Rabbula Gospel Book. All sorts of facts about this evangelarium are available on the Internet (like here and here), so I won’t rehash them all here. Suffice it to say that the Rabbula Gospel Book is a 6th-century manuscript produced in Syria, completed in AD 586 at the Monastery of St. John of Zagba. The texts of the four Gospels and the Acts of the Apostles are presented in Syriac. This is one of the earliest Christian manuscripts to be illuminated with (the oxymoronic) “large miniatures.” The manuscript, which is held by the Biblioteca Mediceo Laurenziana in Florence (cod. Plut. I, 56), is especially notable for its use of bright colors and the miniaturist’s interest in conveying movement.

My reason for mentioning the Rabbula Gospel Book today is twofold. First, fol. 13v features a large miniature (33 x 25 cm) of today’s feast, the Ascension.

Ascension of Christ, Rabbula Gospel Book (fol. 13v)

This is a very interesting image, framed with multi-colored geometric forms. In the upper half, the Lord is shown within a mandorla, ascending into heaven on a chariot. Many of the features in this portion of the miniature—the four living creatures (tetramorph), the four wheels, the hand of God—are drawn from the prophet Ezekiel’s mystical vision of God (c.f., Ezek 1).

In the lower half, the miniaturist gives great prominence to the Blessed Virgin Mary, despite the fact that the scriptural accounts do not specify her presence on this occasion (c.f., Mk 16:19-20 and Lk 24:50-51). She stands out in blue, and she is the only disciple given a halo/nimbus. The Blessed Mother is flanked by angels—the “two men dressed in white garments” (c.f., Acts 1:10)—each with a halo/nimbus. Mary and Jesus are the only two characters in the scene shown facing forward. The Blessed Mother is shown praying, and she distinctly does not share in the state of confusion manifest among the other disciples.

The remaining characters number twelve, although neither Judas nor Saint Mathias is included. Instead, Saint Paul is portrayed with his characteristic attributes of a long beard and a book of his letters. This is an anachronistic interpolation, inasmuch as Saul of Tarsus had not yet been converted to Christ by the time of the Ascension.

The second reason for highlighting the Rabbula Gospel Book today is that it presents a very uncommon image related to tomorrow’s feast of Saint Mathias. On folio 1v of the manuscript, one finds the scene of Saint Mathias being chosen to fill Judas’ place among the Twelve (c.f., Acts 1:15-26).

Election of St. Mathias, Rabbula Gospel Book (fol. 1v)

This image is interesting in its own right, but all the more so since, in later art, this scene has rarely been depicted.

Curiously, the Rabbula Gospel Book includes more illustrations of scenes from the Acts of the Apostles than from the four canonical Gospels. This is a good reminder not to neglect our study of Acts, particularly throughout Eastertide.

“While they were gazing into heaven as He went, behold, two men stood by them in white robes and said, ‘Men of Galilee, why do you stand looking into heaven? This Jesus, who was taken up from you into heaven, will come in the same way as you saw Him go into heaven.'” (Acts 1:10-11, RSV)

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

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Filed Under: Articles Tagged With: Traditional Catholic Artwork Last Updated: May 13, 2021

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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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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “14 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 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski
    “Entrance Chant” • 23rd (Ordinary Time)
    This coming Sunday, 7 September 2025, is the 23rd Sunday in Ordinary Time (Year C). You can download the “Entrance Chant,” conveniently located at the feasts website. I also recorded a rehearsal video for it (freely available at the same website). The Communion Chant includes gorgeous verses in FAUXBOURDON. I attempted to create a rehearsal video for it, and it’s been posted at the feasts website, called by some: “church music’s best kept secret.”
    —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

“…I started down the road of the liturgy, and this became a continuous process of growth into a grand reality transcending all particular individuals and generations, a reality that became an occasion for me of ever-new amazement and discovery. The incredible reality of the Catholic liturgy has accompanied me through all phases of life, and so I shall have to speak of it time and again.”

— Joseph Cardinal Ratzinger

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