❤️ Vespers 🐲

"Benedictine monks singing vespers on Holy Saturday Vespers is a sunset evening prayer service in the Orthodox, Roman Catholic and Eastern Catholic, Anglican, and Lutheran liturgies of the canonical hours. The word comes from the Greek ἑσπέρα ("hespera") and the Latin vesper, meaning "evening". It is also referred to in the Anglican tradition as evening prayer or evensong. (Anglican evensong combines elements of Vespers and Compline.) The term is also used in some other Protestant denominations (such as the Presbyterian Church and Seventh-day Adventists) to describe evening services. Current use =Roman Rite Catholic= Incensing During Solemn Advent Vespers Vespers, also called Evening Prayer, takes place as dusk begins to fall. Evening Prayer gives thanks for the day just past and makes an evening sacrifice of praise to God (Psalm 141:1). The general structure of the Roman Rite Catholic service of vespers is as follows: * Vespers opens with the singing or chanting of the words Deus, in adiutorium meum intende. Domine, ad adiuvandum me festina. Gloria Patri, et Filio, et Spiritui Sancto. Sicut erat in principio, et nunc et semper, et in saecula saeculorum. Amen. Alleluia. (O God, come to my assistance. O Lord, make haste to help me. Glory to the Father, and to the Son, and to the Holy Spirit. As it was in the beginning, is now, and will be forever. Amen. Alleluia.) ("Alleluia" is omitted during Lent.) * The appointed hymn (from the hymnarium) is then sung; * The appointed psalmody is then sung: in the liturgy in general use since 1970 there are two psalms and a New Testament canticle, while in the Divine Office, older forms of the Roman Rite, five psalms are sung instead (not quite the same five before and after the Reform of the Roman Breviary by Pope Pius X).Divino Afflatu centennial - II: comparing the Psalter orders before and after St. Pius X Each psalm (and canticle) concludes with a doxology (Gloria Patri) and is preceded and followed by an antiphon. Additionally, most Psalms also have a short caption explaining how the Psalm/Canticle relates to the Church in a Christological or spiritual way; lastly, English translations oftentimes have a psalm-prayer said after the Gloria and before the antiphon. * After the psalms, there is a reading from the Bible. * Following the reading, there is a short responsory consisting of a verse, a response, the first half only of the Gloria Patri, and then the verse again. * Then the participants sing the Magnificat — the canticle of the Blessed Virgin Mary from the Gospel of Luke 1:46-55. The Magnificat is always preceded by an antiphon, and followed by the Gloria and an antiphon. At Solemn Vespers, the Altar is incensed during the Magnificat. * The preces (intercessory prayers) are then said (in the post-1970 Roman Rite), followed by the Our Father, and then the closing prayer (oratio) and final blessing/invocation. * The office is frequently followed by Benediction of the Blessed Sacrament. =Byzantine Rite= The Byzantine Rite has three basic types of vespers: great, daily, and small. Great vespers is used on Sundays and major feast days (those when the Polyeleos is prescribed at matins) when it may be celebrated alone or as part of an All-Night Vigil, as well as on a handful of special days e.g., Good Friday and Pascha afternoon; on certain days of strict fasting it also commences the divine liturgy. Daily vespers is otherwise used. Small vespers is a very abbreviated form used only on the afternoon before a vigil and is redundant to the subsequent great vespers, being a place holder between the ninth hour and compline and is seldom used except in monasteries where the vigil can last all night. Since the liturgical day begins at sunset, vespers is a day's first service and its hymns introduce the day's themes. Great Vespers Orthodox priest and deacon making the Entrance with the censer at Great Vespers. The general structure of the service is as follows (psalm numbers are according to the Septuagint): * Vespers opens with a blessing by the priest and then "Come, let us worship ..."; when part of an All-Night Vigil, the blessing that normally begins matins is used; when part of the Divine Liturgy, the blessing that is part thereof is used. *Proemial Psalm (Psalm 103 (104)): "Bless the Lord, O my soul; O Lord my God, Thou hast been magnified exceedingly...". * The Great Litany (also called the "Litany of Peace") * A selection of psalms, called a kathisma is sung. On Saturday evening, it is the First Kathisma (Psalms 1-8). * "Lord I have Cried" (Psalms 140 (141), 141 (142), 129 (130), and 116 (117)) is chanted in the tone of the week. Starting with the last two verses of Psalm 141 (142), stichera (stanzas) about the feast day (or Christ's resurrection on a Saturday evening) are chanted alternately with the verses. * The Entrance is made with the censer * The hymn Phos Hilaron ("O Gladsome Light") is sung. * The Prokeimenon is chanted. * On feast days, there are three or more readings from the Old Testament, called Paroemia ("Parables"). * The prayer "Vouchsafe, O Lord", is read. * The Litany of Fervent Supplication * On major feast days, a Litiy will be served at this point. The clergy and the cantors will process to the back of the church in front of an icon of the feast or saint being commemorated. After the cantors chant hymns pertaining to the feast, the deacon or priest will read a litany with several long petitions, to which the cantors respond with Kyrie eleison ("Lord, Have Mercy") many times. The priest ends with a long prayer invoking the intercessions of the saints and the Theotokos. * The Aposticha are chanted. These are verses that teach about the feast day (or on a Saturday evening, Christ's resurrection). * The Nunc dimittis, the Canticle of St. Simeon ("Lord, now lettest Thou Thy servant depart in peace...") (Luke ), is read. * The Apolytikia (troparia of the day) are chanted. If it is an All- Night Vigil on Saturday night, the hymn "Rejoice, O Virgin Theotokos" is chanted instead. Table set with five loaves, wheat, wine and oil for artoklassia. * On major feast days, the artoklasia is performed, at which the priest will bless five loaves of bread which have been prepared in the center of the church, together with wheat, wine and oil. These will be distributed to the faithful later in the service (if it is an All-Night Vigil). Then Psalm 33 (34) is read up to the verse "O fear the Lord, all ye his saints; for there is no want to them that fear him." The next verse "Rich men have turned poor and gone hungry, but they that seek the Lord shall not be deprived of any good thing" is chanted. * The dismissal is given by the priest. If it is an All- Night Vigil this is a simple blessing by the priest; otherwise, it is the full dismissal sequence. On strict fast days when food and drink are prohibited before vespers, e.g., Christmas Eve, the Annunciation when it falls on a weekday of great lent, or Holy Saturday, Vespers is joined to the Divine Liturgy, functioning in place of the typica as the framework of the hymns of the Liturgy of the Catechumens. After the readings from the Old Testament, the Trisagion is chanted, followed by the Epistle and Gospel, and the Divine Liturgy proceeds normally from that point. On these occasions, as at other times when the Gospel is read at vespers, the Little Entrance is made with the Gospel Book instead of the censer. The Liturgy of the Presanctified Gifts always is similarly combined with Vespers, with the first half of Vespers (up to and including the Old Testament readings) making up a significant portion of the service. =Armenian Liturgy= The office of vespers Armenian Երեգոյին Ժամ Eregoyin Zham commemorates the hour when “the Son of God descended from the Cross, and was wrapped in the winding sheet, and laid in the tomb.” Vespers is the only service in the Armenian daily office other than the Morning Service which has hymns proper to the commemoration, feast, or tone assigned to it: a vespers hymn after Psalm 142 (or after Gladsome Light if it is appointed for the day) and the “Lifting-up Hymn” after Psalm 121. Vespers undergoes a wide range of changes depending on the liturgical season. The following outline contains only some of these variations. Outline of Armenian Vespers “Blessed is our Lord Jesus Christ. Amen. Our Father...” Psalm 55:16 “I cried unto God, and he heard me in the evening...(Es ar Astouats kardats`i...)”; Psalm 55:17 “I waited for my God...(Spasēy Astoutsoy imoy...)”; “Glory to the Father...Now and always...Amen.”; “And again in peace...”; “Blessing and glory to the Father...Now and always...Amen.”; “Peace to all.” Psalm 86; “Glory to the Father...Now and always...Amen.”; “Glory to you, O God, glory to you. For all things, Lord, glory to you.”; “And again in peace...”; “Blessing and glory...Now and always...Amen.”; “Peace to all.” Psalm 140 “Rescue me...(Aprets`o zis...)”; Psalm 141 “Lord I called unto you...(Tēr kardats`i ar k`ez...)”; Psalm 142 “With my voice I called out unto the Lord...(Dzayniw imov ar Tēr kardats`i...)”; “Glory to the Father...Now and always...Amen.” At Sunday Vespers (Saturday Evening): “Alleluia, Alleluia. Gladsome light...(Loys zouart`...)”; Exhortation for the blessing of candles: “Blessed Lord who dwells in the heights...(Awrhneal Tēr...)”; Proclamation: “Having assembled...(Hasealk`s...)”; Exhortation: “Having assembled...(Hasealk`s...)” Vespers Hymn (varies) At Sunday Vespers (Saturday Night): Proclamation: “Let us all say...(Asasts`owk`...)”; Exhortation: “We have the intercessions...(Barekhaws ounimk`...)” During Fasts: Proclamation: “Let us beseech almighty God...(Aghach`ests`ouk` zamenakaln Astouats...)” Otherwise continue here: Prayer: “Hear our voices...(Lour dzaynits` merots`...)”; “Holy God...(varies)”; “Glorified and praised ever- virgin...(P`araworeal ev awrhneal misht Astouatsatsin...)”; Exhortation: “Save us...(P`rkea zmez...)”; Proclamation: “And again in peace...That the Lord will hearken to the voice of our entreaty...(Vasn lsel linelov...)”; “Blessing and Glory to the Father...Now and always...Amen.”; “Peace to all.” Psalm 121 “I lifted my eyes...(Hambardzi zach`s im...)”; “Glory to the Father...Now and always...Amen.” Hymn After Psalm 121 (varies); Proclamation: “For the peace of the whole world...(Vasn khaghaghout`ean amenayn ashkharhi...)”; Prayer: “Father compassionate...(Hayr gt`ats...)” On fasting days: Exhortation: “Almighty Lord...(Tēr amenakal...)”; Proclamation; Prayer On fasting days and lenten days which are not Sundays (Saturday evenings), continue here: The Prayer of Manasseh; “Glory to the Father...Now and always...Amen.”; Exhortation; Proclamation; Prayer; “Remember your ministers...(Yishea Tēr zpashtawneays k`o...)”; “Merciful and compassionate God (Barerar ev bazoumoghorm Astouats...)” On Sundays (Saturday Evenings) and during the 50 days of Easter: Psalm 134: “Now bless the Lord, all you servants of the Lord...(Ast awrhnets`ēk`...)”; Psalm 138; Psalm 54; Psalm 86:16-17; “Glory to the Father...Now and always...Amen.”; Proclamation: “Let us entreat...(Khndrests`ouk`...)” On Sundays: Prayer: “King of peace...(T`agawor khaghaghout`ean...)” On Sundays during Eastertide: Prayer: “By your all- powerful and joyous resurrection...(K`oum amenazawr ev hrashali...)” On Feasts of the Cross: Proclamation: “By the holy cross...(Sourb khach`iws...)”; Prayer: “Defend us...(Pahpanea zmez...)” All services conclude with: “Blessed is our Lord Jesus Christ. Amen. Our Father...” =East Syriac Liturgy= Vespers are known by the Aramaic or Syriac term Ramsha in the East Syriac liturgy which was used historically in the Church of the East and remains in use in Churches descend from it, namely the Assyrian Church of the East, the Ancient Church of the East, the Chaldean Catholic Church, and the Syro-Malabar Catholic Church. =Oriental Orthodoxy= In the Coptic Orthodox Church, Vespers refers to a series of services: # The Vespers Prayer - This is taken from the Canonical Book of Hours. In the liturgical context, the 9th, 11th, 12th and Veil hours are prayed. # The Vespers Praises - This is taken from the Psalmody and is described in greater detail below. # The Vespers Raising of Incense Vespers, as a whole, is an introduction and preparation for the Liturgy, consisting of a collection of prayers, praises and Thanksgiving prayers which request the Lord's blessings upon the sacramental service. The rite of Vespers Praises in the Coptic Orthodox Church is as follows: # The hymn Ⲛⲓⲉⲑⲛⲟⲥ ⲧⲏⲣⲟⲩ (Psalm 116) # The Fourth Canticle (Psalms 148, 149, 150) # The Psali for the day (each day of the week has its own Psali) # The Theotokion for the day (each day of the week has its own Theotokion) # The Lobsh or Explanation of the Theotokion # The reading of the Antiphonary # On Sunday, Monday and Tuesday: The Conclusion of the Adam Theotokia # On Wednesday, Friday, Saturday, Sunday: The Conclusion of the Batos Theotokia # Ⲥⲱⲑⲓⲥ ⲁⲙⲏⲛ (Saved Amen.) # The Lord's Prayer The rite of Vespers Raising of Incense in the Coptic Orthodox Church is as follows: # The Thanksgiving Prayer - As with all Coptic Orthodox services, Vespers first thanks God "for everything, concerning everything, and in everything" # Minor Circuit of Incense and Three Inaudible Litanies # The Verses of the Cymbals # The Litany for the Departed # Major Circuit of Incense # Graciously Accord O Lord... # The Trisagion # The Doxologies - commemorating the saints of the church and the liturgical season of the church # The Creed # The Prayer of Ⲫⲛⲟⲩϯ ⲛⲁⲓ ⲛⲁⲛ (O God have mercy upon us...) # The Prayer for the Gospel # The Reading of the Psalm and Gospel # The Absolution, Conclusion, and Blessing In the Indian Orthodox Church, Vespers (Ramsho) is one of the canonical hours given in the Shehimo. =In other Christian churches and religious bodies= Since its inception, the Anglican communion has maintained an evening office, which is called evening prayer (or evensong). There are prescribed forms of the service in the Anglican prayer book. A similar form of the service is found in the Vespers section of The Lutheran Hymnal. The Anglican breviary contains Vespers in English according to the pre-1970 Roman rite. For information on that service, see above, as in the Roman breviary. The Liberal Catholic Rite also includes Vespers, including the Te Deum as an alternative to the Magnificat.The Liturgy of the Liberal Catholic Church Daily office books that conform to the historic structure of Vespers have also been published by the Pilgrim Press (The New Century Psalter) and Westminster John Knox Press (Book of Common Worship Daily Prayer). Both publishing houses are affiliated with churches in the Reformed tradition. From its traditional usage, the term vespers has come to be used more broadly for various evening services of other churches, some of which model their evening services on the traditional Roman Catholic form. Presbyterians and Methodists, as well as congregationalist religious bodies such as Unitarian Universalism, often include congregational singing, readings, and a period of silent meditation, contemplation, or prayer. Some regular community vespers services are completely areligious (or at least are not sponsored by any church) and serve simply as a time for quiet contemplation in the evening hours. In addition, during the 19th and early 20th centuries, synagogues in the Classical Reform tradition sometimes referred to their Friday evening worship services as "vespers". Nowadays, such services are instead called kabbalat shabbat, which means "welcoming the Sabbath". Historical development This section incorporates information from the Catholic Encyclopedia of 1917. References to psalms follow the numbering system of the Septuagint, and said in the Latin of the Vulgate. =Origins= Before the fourth century allusions to the evening prayer are found in the earlier Fathers, Clement I of Rome (Clemens Romanus), St. Ignatius, Clement of Alexandria, Tertullian, Origen, the Canons of St. Hippolytus, St. Cyprian. Vespers is, therefore, together with Vigil, the most ancient Office known in the Church. The Rule of St. Benedict was written about 530–43. Much earlier than this we find an evening Office corresponding to both that of Vespers and that of Compline. Its name varies. John Cassian calls it Vespertina synaxis, or Vespertina solemnitas. Benedict used the name vespera which has prevailed, whence the French word vêpres and the English vespers. The name, however, by which it was most widely known during that period was Lucernalis or Lucernaria hora. It was so called because at this hour candles were lit, not only to give light, but also for symbolical purposes. The "Peregrinatio", the date of which is probably the 4th century, gives the liturgical order as practised at Jerusalem. The author states that this Office took place at the tenth hour (four o'clock in the evening); it is really the Office des lumières, i.e. of the lights; it was celebrated in the Church of the Holy Sepulchre; all the lamps and torches of the church were lighted, making, as the author says, "an infinite light". In the "Antiphonary of Bangor", an Irish document of the 6th century, Vespers are called hora duodecima, which corresponds to six o'clock in the evening, or hora incensi, or again ad cereum benedicendum. All these names are interesting to note. The hora incensi recalls the custom of burning incense at this hour, while at the same time the candles were lighted. The ceremony of the lights at Vespers was symbolic and very solemn. Vespers, then, was the most solemn office of the day and was composed of the psalms called Lucernales (Psalm 140 is called psalmus lucernalis by the Apostolic Constitutions). Cassian describes this Office as it was celebrated by the monks of Egypt and says they recited twelve psalms as at the vigil (matins). Then two lessons were read as at vigils, one from the Old, and the other from the New Testament. Each psalm was followed by a short prayer. Cassian says the Office was recited towards five or six o'clock and that all the lights were lit. The use of incense, candles, and other lights would seem to suggest the Jewish rites which accompanied the evening sacrifice (Exodus 29:39; Numbers 28:4; Psalm 140:2; Daniel 9:21; 1 Chronicles 23:30). It may thus be seen that the Lucernarium was, together with Vigil, the most important part of the Offices of the day, being composed of almost the same elements as the latter, at least in certain regions. Its existence in the fourth century is also confirmed by St. Augustine, St. Ambrose, St. Basil, St. Ephraem, and, a little later, by several councils in Gaul and Spain, and by the various monastic rules. = In the 6th century = In the sixth century the Office of Vespers in the Latin Church was almost the same as it has been throughout the Middle Ages and up to the present day. In a document of unquestionable authority of that period the Office is described as follows: The evening hour, or vespertina synaxis, is composed of four psalms, a capitulum, a response, a hymn, a versicle, a canticle from the Gospel, litany (Kyrie eleison, Christe eleison), Pater with the ordinary finale, oratio, or prayer, and dismissal (Regula Sancti Benedicti, xvii). The psalms recited are taken from the series of psalms from Pss. 109 to 147 (with the exception of the groups 117 to 127 and 133 to 142); Pss. 138, 143, 144 are each divided into two portions, whilst the Pss. 115 and 116 are united to form one. This disposition is almost the same as that of the "Ordo Romanus", except that the number of psalms recited is five instead of four. They are taken, however, from the series 109 to 147. Here, too, we find the capitulum, versicle, and canticle of the "Magnificat". The hymn is a more recent introduction in the Roman Vespers; the finale (litanies, Pater, versicles, prayers) seems all to have existed from this epoch as in the Benedictine cursus. Like the other hours, therefore, Vespers is divided into two parts; the psalmody, or singing of the psalms, forming the first part, and the capitulum and formulæ the second. Vesper time varied according to the season between the tenth hour (4 p.m.) and the twelfth (6 p.m.). As a matter of fact it was no longer the evening hour, but the sunset hour, so that it was celebrated before the day had departed and consequently before there was any necessity for artificial light (Regula S. Benedicti, xli). This is a point to be noted, as it was an innovation. Before this epoch this evening synaxis was celebrated with all the torches alight. The reason of this is that St Benedict introduced in the cursus, another hour—that of Compline—which was prescribed to be celebrated in the evening, and which might be considered as a kind of doubling of the Office of Lucernarium. = Office of Vespers in the Middle Ages: Variations = As has already been remarked, the institution of the office of compline transformed the lucernarium by taking from it something of its importance and symbolism, the latter at the same time losing its original sense. St. Benedict called it only Vespera, the name which has prevailed over that of lucernarium (cf. Ducange, "Glossarium med. et inf. lat.", s.v. Vesperae). The Gallican liturgy, the Mozarabic Liturgy, and, to a certain extent, the Milanese, have preserved the lucernarium (cf. Bäumer-Biron, l. c., 358). The Eastern Orthodox Church retains the "Lumen hilare" and some other traces of the ancient lucernarium in the offices of vespers and compline (cf. Smith, "Dict. Christ. Antiq.", s.v. Office, Divine). In the Rule of St. Columbanus, dated about 590, Vespers still has twelve psalms, amongst which are Pss. cxii and cxiii, the Gradual psalms, Pss. cxix sqq. (cf. Gougaud, "Les chrétientés celtiques", 309; "Dict. d'arch. chrét. et de liturgie", s.v. Celtique, 3015). The "Antiphonary of Bangor", a document of Irish origin, gives for vespers Ps. cxii and also the "Gloria in Excelsis". For modifications since the 12th century, cf. Bäumer-Biron, l. c., II, 54 sqq. = Changes as of 1917 = The decree "Divino afflatu" (November 1, 1911) involves important changes in the old Roman Rite office. There is an entire rearrangement of the psalms (see Reform of the Roman Breviary by Pope Pius X) with new ones appointed for each day of the week. These psalms are to be recited with their antiphons, not only at the Office de tempore (Sundays and feriæ) but also on feasts of a lesser rite than doubles of the second class, that is to say, on simples, semidoubles (double minors), and double majors. On feasts which are doubles of the second class and a fortiori of the first class, as well as on feasts of the Blessed Virgin Mary, the Holy Angels, and Apostles, the psalms are proper to the feast as heretofore. On all feasts, of whatever rite, the second part of vespers, that is, the capitulum, hymn, antiphon of the "Magnificat", is taken from the Sanctorale. On semi-doubles and those of a lesser rite the suffrages are now reduced to a single antiphon and orison which is common to all the saints heretofore commemorated, whilst the preces ("Miserere" and versicles) formerly imposed on the greater feriæ are now suppressed. =Structure: 1917-1969= The office of Vespers in general use before 1970 continues to be used today by those adhering to the Roman Rite as in 1962 or to earlier versions. The structure of Vespers prior to 1970 is as follows: * Vespers begins with the singing or chanting of the opening versicles Deus, in adiutorium meum intende. Domine, ad adiuvandum me festina. Gloria Patri, et Filio, et Spiritui Sancto. Sicut erat in principio, et nunc et semper, et in saecula saeculorum. Amen. Alleluia. (O God, come to my assistance. O Lord, make haste to help me. Glory be to the Father, and to the Son, and to the Holy Spirit. As it was in the beginning, both now and ever, and unto ages of ages. Amen. Alleluia.) From Septuagesima until Easter, Laus tibi Domine, Rex aeternae gloriae (Praise be to Thee O Lord, King of eternal glory) replaces Alleluia. * Five psalms are sung, each concluding with the doxology Gloria Patri. Each psalm is preceded and followed with an antiphon. * The Little Chapter, a short biblical verse, is read. * The hymn, which varies according to season and feast, is sung, followed by its versicle and response. * The Magnificat, preceded and followed with an antiphon, is then sung. * The preces are then said on certain greater ferias. * The collect of the day is said, followed by commemorations of any concurring feasts according to the rubrics. * If Compline does not immediately follow, Vespers may end with the seasonal Marian Antiphon. * The office is frequently followed by Benediction of the Blessed Sacrament. = Symbolism: the Hymns = Notwithstanding the changes brought about in the course of time, Vespers still remains the great and important Office of the evening. As already pointed out, it recalls the sacrificium vespertinum of the Old Law. In the same manner as the night is consecrated to God by the Office of the Vigil, so also is the end of the day by Vespers. It terminates, as Matins formerly terminated, and Lauds at present terminates, by a lection, or reading, from the Gospel, or canticum evangelii, which, for Vespers, is always the "Magnificat". This is one of the characteristic traits of Vespers, one of the liturgical elements which this particular Office has retained in almost all regions and at all times. There are, however, a few exceptions, as in some liturgies the "Magnificat" is sung at Lauds (cf. Cabrol in "Dict. d'arch. et de liturgie", s.v. Cantiques évangéliques). This place of honour accorded so persistently to the canticle of Mary from such remote antiquity is but one of the many, and of the least striking, proofs of the devotion which has always been paid to the Blessed Virgin Mary in the Church. The psalms used at Vespers have been selected, from time immemorial, from Pss. cix to cxlvii, with the exception of Ps. cxviii, which on account of its unusual length does not square with the others, and is consequently ordinarily divided up into parts and recited at the little hours. Pss. i to cviii are consecrated to Matins and Lauds, whilst the three last psalms, cxlviii to cl, belong invariably to Lauds. The series of hymns consecrated to Vespers in the Roman Breviary also form a class apart and help to give us some hints as to the symbolism of this hour. The hymns are very ancient, dating probably, for the most part, from the 6th century. They have this particular characteristic—they are all devoted to the praise of one of the days of the Creation, according to the day of the week, thus: the first, "Lucis Creator optime", on Sunday, to the creation of light; the second, on Monday, to the separation of the earth and the waters; the third, on Tuesday, to the creation of the plants; the fourth, on Wednesday, to the creation of the sun and moon; the fifth, on Thursday, to the creation of the fish; the sixth, on Friday, to the creation of the beasts of the earth; Saturday is an exception, the hymn on that day being in honour of the Blessed Trinity, because of the Office of Sunday then commencing. =Solemn Vespers before the Second Vatican Council= On weekdays that are not major feasts Vespers features hardly any ceremonies and the celebrant wears the usual choir dress. However, on Sundays and greater feasts Vespers may be solemn. Solemn Vespers differ in that the celebrant wears the cope, he is assisted by assistants also in copes, incense is used, and two acolytes, a thurifer, and at least one master of ceremonies are needed. On ordinary Sundays only two assistants are needed while on greater feasts four or six assistants may be used. The celebrant and assistants vest in the surplice and the cope, which is of the color of the day. The celebrant sits at the sedile, in front of which is placed a lectern, covered with a cloth in the color of the day. The assistants sit on benches or stools facing the altar, or if there are two assistants, they may sit at the sedile next to the celebrant (the first assistant in the place of the deacon and the second assistant in place of the subdeacon). The celebrant and assistants follow the acolytes into the church wearing the biretta. Upon arriving in the sanctuary the acolytes place their candles on the lowest altar step, after which they are extinguished. The celebrant and assistants kneel on the lowest step and recite the Aperi Domine silently, after which they go to their places and recite the Pater noster and Ave Maria silently. A curious practice which exists from ancient times is the intoning of the antiphons and psalms to the celebrant. The rubrics presuppose that the first assistant or cantors will intone all which the celebrant must sing by singing it to him first in a soft voice after which the celebrant sings it again aloud. The five antiphons and psalms are sung with the first assistant intoning the antiphons and the cantors intoning the psalms. During the singing of the psalms all sit. After the psalms, the acolytes relight their candles and carry them to each side of the lectern for the chapter. The assistants follow, standing facing each other in front of the lectern. The celebrant then sings the chapter, after which all return to their places. The first assistant intones the hymn to the celebrant, and all stand while the hymn is sung. The first assistant intones the Magnificat to the celebrant, who sings the first line aloud. The celebrant and the first two assistants go to altar, and the altar is then incensed as at Mass while the first two assistants hold the ends of the cope. Other altars in the church may be incensed as well. The first assistant then incenses the celebrant, after which the thurifer incenses the others as at Mass. If there are commemorations, the acolytes and assistants again go to the lectern as described above for the chapter. The choir sings the antiphons, the cantors sing the versicles, and the celebrant sings the collects. After all commemorations, the celebrant sings Dominus vobiscum, the cantor sings Benedicamus Domino, and the celebrant sings Fidelium animae.... The Marian antiphon is said in the low voice. Especially in English-speaking countries, Benediction of the Blessed Sacrament often follows Solemn Vespers. Musical settings The psalms and hymns of the Vespers service have attracted the interest of many composers, including Claudio Monteverdi, Antonio Vivaldi, Wolfgang Amadeus Mozart, and Anton Bruckner. (Sergei Rachmaninoff's "Vespers" is really a setting of the Eastern Orthodox all-night vigil.) See also *Agni Parthene *Blazhen Muzh *Jewish services#Ma'ariv/Arvit (evening prayers) *Maghrib prayer (equivalent Islamic prayer at sunset) *Ramsha *Sacred music References External links * The text of Vespers for today's date (Roman Catholic) * The Roman Catholic General Instruction for the Liturgy of the Hours * An explanation of First Vespers * Vespers in the Orthodox Church * Sunday Vespers in Latin and with Gregorian chant (Ordinary Form of the Roman Rite) * An Order for Methodist Evening Prayer (PDF) * Byzantine Catholic Archeparchy of Pittsburgh Category:Liturgy of the Hours Category:Eastern Christian liturgies Category:Catholic liturgy Category:Christian liturgical music Category:Major hours Category:Evening "

❤️ Tiswas 🐲

"Tiswas (; an acronym of "Today Is Saturday: Watch And Smile") is a British children's television series that originally aired on Saturday mornings from 5 January 1974 to 3 April 1982, and was produced for the ITV network by ATV. It was created by ATV continuity announcer Peter Tomlinson (later to become a regular presenter on the show) following a test period in 1973 when he tried out a few competitions and "daft stuff" between the programmes. Overview Tiswas began life as a 'links' strand between many 'filler' programmes, such as cartoons and old films. The popularity of the presenters' links soon eclipsed the staple diet of filler. The correct meaning of the Tiswas initials - Today Is Saturday: Watch And Smile - was confirmed by Chris Tarrant on the Tiswas Reunited special of 2007, although Today Is Saturday: Wear A Smile had also been often cited, albeit incorrectly. It was originally produced as a Midlands regional programme by ATV, and was first broadcast live on 5 January 1974. The then federal structure of ITV, with its independent regional companies, meant that not all of these stations broadcast the show when it became available for networked transmission. Over time most ITV regions chose to broadcast it, with Granada Television and Southern Television being among the last to pick up the show, in 1979. Tyne Tees and Ulster eventually decided to take Tiswas for its final series in 1981. The smallest broadcaster in the network, Channel Television, did not carry the programme. Most famously hosted by Chris Tarrant between 1974 and 1981, and later Sally James, it also featured the young Lenny Henry and occasionally Jim Davidson together with Bob Carolgees and his puppet, Spit the Dog. John Gorman, former member of 1960s cult band The Scaffold, was also a presenter. On the programme, Birmingham folk-singer and comedian Jasper Carrott was to introduce the nation to the "Dying Fly Dance"—and also to many local hospital casualty wards, for the dance at one point soared high in the RoSPA list of common causes of household injury. Like its cleaner BBC counterpart, Multi-Coloured Swap Shop, it had a running order but no script (with the exception of some specific sketches). The programme was broadcast from Studio 3 at ATV Centre in Birmingham; this was the weekday home for the company's regional news magazine, ATV Today. The show was a stitch-together of competitions, film clips and pop promos, just about held together by sketches and links from the cast. The show also regularly featured spoofs of BBC children's programming. A feature of Tiswas was "The Cage" wherein initially the child audience, later their parents and, finally, members of the public could apply were confined and periodically doused in water (one spin-off of the series was the hit "The Bucket of Water Song", performed by the Four Bucketeers). This became so popular that the 100th show (broadcast from the Hednesford Hills Raceway) featured several hundred fans lining the racetrack whilst a fire-engine of the local brigade drove around the track and hosed them down with water. Another feature of Tiswas was its spoof gardening segment Compost Corner, which Chris Tarrant later revealed was a ruse to get an audience callback in the style of Crackerjack. This feature regularly featured Lenny Henry - complete with khaki shorts; Hawaiian shirt; and ginger fake beard - performing a rather poor impersonation of David Bellamy, with gardening-based puns and jokes. Lenny Henry also performed a regular slot of Newsflashes as Trevor McDoughnut - a rather poor impersonation of ITN Newsreader Trevor McDonald - in which he performed news-based puns and jokes, punctuated by buckets of water being thrown at him. Henry also regularly performed an impersonation of Tommy Cooper, in which he either told a joke (which often ended with the Phantom Flan Flinger - standing behind Henry - slapping two flans into either side of Henry's head); or performed a spoof magic trick. The series was also frequently visited by the Phantom Flan Flinger, who would throw custard pies ("flans") around the studio at all and sundry. Both Tarrant and the Flan Flinger would take great delight in trying to 'flan' cameramen who would go to great lengths to avoid being hit. = The logo = The original logo featured the word "TISWAS" in chunky letters. A later version of this logo featured a circle going round the edge with "Today Is Saturday Watch And Smile" embossed upon it. The classic "zig-zag" logo designed by Stuart Kettle appeared in 1977 - this initially featured a mechanical bird flying above it, but later, Chris Wroe (who drew all of the classic caricatures of the Tiswas team) replaced this with a drawing of the Phantom Flan Flinger. Series =Series 1= The first series was intended to be eleven episodes, purely acting as links between the usual staple fillers of old films and cartoons that ATV would transmit on Saturday mornings. Presented by Chris Tarrant and John Asher from merely a desk in a continuity studio, the pair had to rely on ad-libs and jokes sent in by viewers. Within a few weeks, the show was moved to studio 3 at ATV Centre (a studio usually reserved for amongst other programmes, the news magazine programme, ATV Today) from which Tiswas was produced for the majority of its run. Due to an industrial dispute by technicians at ATV, this initial run was only nine programmes in length, but was so well-received that a second series was commissioned. Billed in TV Times as "Today Is Saturday or the Tis-was Show", the title sequence features both "Today Is Saturday" and the original "Tiswas" chunky letters logo, shown over a background very similar to that of The Golden Shot. The sequence featured clips from various films and Disney cartoons, backed by a funky jazz number known as "Atomic Butterfly" (which also seems to have been used for Sports Arena, an HTV Wales sports programme in the early 1970s). =Series 2= Series 2 of Tiswas began from late 1974, and spanned almost every Saturday in 1975, finishing in early 1976. The presenting team was doubled to four presenters, and these were usually culled from ATV's presentation department. Chris Tarrant and John Asher retained their roles as the main presenters, although John would leave during this series. From the ranks at ATV, other regular presenters were established, notably sports reporter Trevor East (later director of sport at Setanta Sports) and announcer Peter Tomlinson (later to become managing director of Saga Radio West Midlands and High Sheriff of the West Midlands). Producer Peter Harris left the show in the summer, to help produce fellow cult TV success The Muppet Show at ATV's London-orientated operation in Elstree. =Series 3= Running from late 1976 to early 1977, Chris Tarrant, Peter Tomlinson and Trevor East were the main presenters. Almost all these shows were produced by Sid Kilbey. The 2 April 1977 show was a landmark edition, as part of the programme was broadcast outside the Midlands for the first time, on HTV Cymru Wales and HTV West, filling up their 'round-the-regions' compilation of Saturday morning programmes called Ten On Saturday. =Series 4= This series, running from 10 September 1977 to May 1978, marked an end to the provincial micro-budget shows of the previous series, as the initial edition of this series brought significant changes. Sally James was drafted in as the series' first regular female presenter. She had been the presenter of a regional Saturday morning show in London called Saturday Scene, produced by LWT. Comedian Jim Davidson was intended to be a regular presenter but left after only a few editions, although he would return for cameo appearances. Peter Tomlinson was axed as a regular, which came as a surprise to him. Chris Tarrant was retained as the anchor presenter, and behind the scenes was annoyed with the changes, particularly the inclusion of a woman as presenter. However, he later retracted this view, having witnessed the progress Tiswas had made with James's contribution. One significant change almost never happened. ATV management were displeased with the visual slapstick element - the hurling of custard pies and water. They believed this was setting a bad example to the young viewers. Newly drafted producer/director Glyn Edwards managed to retain this vital, messy element by drawing on his experience as a Punch & Judy puppeteer to create a 'villain' character called 'The Phantom Flan Flinger', who would be the black-clad masked nemesis of the presenting team, and the main instigator of pie-throwing chaos. The "phantom" was later revealed to be Ben Mills, a taxi driver from Cheswick Green near Solihull. John Gorman made his debut in this series, but with just four appearances, it would not be until series 5 that he became a regular visitor to the Tiswas studios. Likewise, child performer Paul Hardin made sporadic appearances. The programme expanded its footprint further outside its home region. As well as appearing in part on HTV, Anglia, Border, Granada and Scottish Television began to screen Tiswas in its entirety. Anglia dropped the series a number of times to pick up other regions' Saturday morning programmes throughout Tiswass history. =Series 5= This series ran from September 1978 to May 1979. John Gorman became a regular performer from November onwards. STV and Granada dropped the series in 1978 in favour of showing other programmes but began carrying the series again in 1979. HTV continued to opt in and out of the programme during Ten on Saturday. Bob Carolgees made his debut in early 1979, having been told to go on the programme by Irish comic Frank Carson. Carolgees appeared again two weeks later, and Chris was so pleased with his contribution that he decided to make a regular fixture out of Bob. Lenny Henry made sporadic appearances throughout this series, but was not established as a regular. Child performer Paul Hardin increased his visits to the studios, and could well be considered as a series 5 team member, likewise Sylveste McCoy (who added an "r" to his first name later in his career) who performed surreal comic interludes. =Series 6= ITV had been off the air across the nation since August due to a massive strike by technicians. Tiswas returned to the screens in November 1979 for its sixth series, as part of ITV's comeback; this was directly referenced in the first edition of the new series, when the "Welcome Home To ITV" jingle was played to usher the programme in and out of the advert breaks, albeit replacing the vocals by the Mike Sammes Singers with a group of deliberately out-of-tune children. Many ITV regions took the programme for the first time, establishing the show strongly in the nation's consciousness. London-based viewers tended to complain to the Independent Broadcasting Authority (IBA) about some of the edgier moments the show had. With an almost national audience, the show became inclusive of its increased viewership by making a bigger role out of specially invited viewer performances. Many of these were children who sang songs or performed dance routines. Chris Tarrant, now producer as well as presenter, found most of these contributions to be of little value, until he came across a unique act by a five-year-old boy, Matthew Butler. Encouraged by his Tiswas-obsessed mother, Butler auditioned for the series wearing a rabbit costume and sang the song "Bright Eyes" made famous by the animated film Watership Down, although his own singing ability was rather poor. Tarrant found this so amusing that he arranged for him to appear on the following Tiswas, as well as many subsequent editions. Also appearing a number of times in this series was Norman Collier, the Yorkshire comedian best known for his broken microphone routine and chicken impressions. Another by-product of Tiswass increased audience was the boost to merchandise sales: an annual book was established, and there was a tour of universities (recognising their adult and teenaged audience) by the Tiswas team, under the name of the Four Bucketeers, which tied in with their spin-off album on CBS Records. This was all born out of one feature of the sixth series - "The Bucket Of Water Song", which was such a hit with the viewers that it evolved from an intended one-off to an almost regular part of Tiswas. =Series 7= By now, ATV had increased the budget for Tiswas, and Chris Tarrant had more of a say in the programme's production than ever before. A proper theme tune was created, and the studio set was based around ATV cartoonist Chris Wroe's caricatures of the presenting team. This series can be considered as the definitive series, due to the material drawn from this era that usually gets an airing on documentaries and clips shows when Tiswas is the subject. In addition, the three video compilations that have been released for sale have been packaged around a seventh series theme, with the bulk of the clips also being from this age. Midway through this series, Chris Tarrant decided to leave upon its conclusion. Bob Carolgees, Lenny Henry and John Gorman also left after the final edition of series 7. They had decamped to start work on O.T.T., a late-night version of Tiswas intended for an adult audience, which would debut in 1982. The only regular Tiswas presenter left was Sally James, who stayed on for series 8. =Series 8= The last series of Tiswas, beginning in September 1981 and ending in April 1982, had its format heavily tinkered with by ATV management. They believed that the adult audience should be avid viewers of Chris' 'late-night Tiswas', and therefore Tiswas itself should focus on its child audience. It was also the first time Tyne Tees and Ulster started to screen the series. The new presenting team consisted of Midlands DJ Gordon Astley, former Darts frontman Den Hegarty and comic impressionist Fogwell Flax. Veteran Tiswas presenter Sally James stayed on and became the series' Music Editor, but decided to leave towards the series' end. This was likely to be a factor in Central Television's decision not to bring the programme back for a ninth series. Semi-regulars were dwarf actor David Rappaport who played characters such as 'Green Nigel' (in a pastiche of BBC programme Blue Peter) and the Fonz-like 'Shades', Emil Wolk and puppeteer Trevor James with a giant parrot, presumably to fill the void left by Bob Carolgees. At the end of 1981, a restructure of ITV's broadcast franchises saw ATV win back the franchise for the Midlands on condition of changes in management, regional output and branding. Thus, the first part of the series was produced by ATV and the second part by Central Television. The decision by TVS, the new ITV station in the south and south- east of England, to drop the Central-produced half of the last series in favour of its own Saturday morning programme No. 73 saw fans of Tiswas picket outside its studios in Southampton. The eighth series was broadcast on TVS upon the conclusion of No. 73s first series. During its ATV days the chairman of the station, Lew Grade, was said to have taken a personal dislike to the show but was persuaded to let it continue, even arguing in its defence to criticism from the IBA. It was believed that the new management at Central frowned upon the anarchy of Tiswas (and the common popularity of another production, the soap opera Crossroads) and in a desire to make the station more upmarket than its previous incarnation took the evidence of declining audiences for the new format as justification to axe Tiswas after series 8. =Missing episodes= Almost every edition of Tiswas was transmitted live, and only recorded in case of any future IBA investigation (as was standard practice at the time). Accordingly they suffered the same fate as a number of 1970s children's series, in that they were thought to have no further commercial use (the idea of home video entertainment was still in its infancy), and therefore many master tapes were wiped for re-use. As a result, very few programmes officially exist in their entirety. Those that were kept were often stored in poor conditions, which led to severe picture deterioration, so they are no longer of broadcast quality. However, some did survive; many viewers made their own recordings and in many cases these are the only existing copies of the programmes. Members of the production team and performers on the show would also record their appearances, leading to many episodes existing in private hands. In 2006, ITV began a search for many missing ITV programmes, including Tiswas, for their Raiders Of The Lost Archive series broadcast in 2007. Their website reveals that only 22 episodes are known to officially exist in their entirety: episode 60 from 30 August 1975, four episodes from 1978, two episodes from 1979, two episodes from 1980, five episodes from 1981 and nine episodes from 1982. Incomplete segments from show 151 (broadcast on 10 December 1977), an episode from 1978 and two episodes from 1979 are also known to have survived. The prolific TiswasOnline fansite features an in-depth episode guide for the whole series, detailing where an episode is known to exist, whether as a private home recording or in the official archive. ITV plc has confirmed to TiswasOnline that many more programme elements (other than those officially known to exist) have been kept, but as yet these have not been fully catalogued. This may include insert material such as animations and graphics or filmed clips. Furthermore, the Tiswas Reunited programme in 2007 resulted in the discovery of further footage. Related programmes =O.T.T.= On 2 January 1982 Tarrant, Carolgees, Gorman, Randolph Sutherland and Henry launched a late-night show - with the up-and-coming comics Alexei Sayle and Helen Atkinson-Wood called O.T.T. (standing for "Over the Top") which was effectively an "adult" version of Tiswas - in other words, it attempted to be just as anarchic, but with swearing and occasional topless women. It was not such a success, running for just one series, and is today chiefly remembered for the naked 'Balloon Dance' performed by The Greatest Show on Legs, including comedian Malcolm Hardee. The theme tune was recorded by Roy Wood and was released as a single = Saturday Stayback = Saturday Stayback was a short-lived (January–February 1983) late night comedy show based in a pub. Although intended as some sort of sequel to O.T.T., this differed quite a lot, for it was all recorded rather than the live chaos of its predecessor. It mainly consisted of comedy sketches, with some live music acts - usually Thin Lizzy and Roy Wood. Saturday Stayback received much less controversy than O.T.T., and also introduced new talent such as Phil Cool and Tony Slattery. It lasted only six episodes. Chris Tarrant and Bob Carolgees were the only ex-Tiswas personnel regularly seen on screen, and John Gorman helped out on writing duty. =Tiswas Reunion= A definitive line-up of Tiswas presenters regrouped for a resurrection of Tiswas on the ITV Telethon of 1988. This took place in LWT's South Bank studios in London, culminating in an outside performance of The Bucket Of Water Song. =Ministry of Mayhem= In late 2005, ITV's Saturday morning show Ministry of Mayhem had a special edition featuring presenters from past Saturday morning shows, including Tiswas. Representing Tiswas was Sally James, although Chris Tarrant did a video link-up for a brief interview during the show. Out of the cult Saturday morning shows that were focused on, Tiswas was significantly the most prominent, with many clips shown from it, and even a re-enactment of two Tiswas staples - the Cage and the Pass The Pie game. =Tiswas on Dick and Dom in da Bungalow= In December 2005, BBC Saturday morning show Dick and Dom in da Bungalow featured a thirty-year-old man singing "Bright Eyes" with his friends as part of a talent spot. This person was Matthew Lewis, formerly known as Matthew Butler, who performed his unique rendition of the song back in 1980 on Tiswas when he was aged five. Presenters Richard McCourt and Dominic Wood took the opportunity to praise Matthew, as they are fans of Tiswas, and also to dispel recent tabloid rumours of Dick and Dom resurrecting Tiswas on ITV. However, Wood did present one episode of Dick and Dom in da Bungalow wearing a Tiswas T-shirt. =Lenny Henry on It Started With Swap Shop= Lenny Henry appeared on the BBC's It Started With Swap Shop programme in 2006, in which he spoke to Noel Edmonds about Tiswas being the rival of Swap Shop during the entire era. =Tiswas Reunited – The 2007 Special= A new programme to celebrate 25 years since the final Tiswas show was broadcast by ITV1 on 16 June 2007, it started with the traditional ATV logo and jingle. This programme had been delayed from May in order to allow for an extended transmission slot. Celebrities and 'old Tiswas mates' alike joined in the fun. In an interview publicising this, Chris Tarrant put out an appeal to the public to submit any surviving video footage of the series to be included in the new programme - which resulted in the discovery of further footage. A DVD release of the programme, featuring an extended edition plus a short featurette on the history of Tiswas, was released shortly after transmission. From the official press release: > For one night only, ITV1 brings you TiSWAS REUNITED, a one-off special > reuniting the stars of the iconic groundbreaking children’s show TiSWAS. > With a wealth of clips and reminiscences from the many stars who appeared on > the series, the team will recreate the chaos and mayhem of those heady days > of the show that broke the mould. TiSWAS REUNITED is new and exclusive to > ITV1, spring 2007. The producers of the programme looked for people who were involved in the original series, whether they were in the audience, appeared as a guest, won a competition ("pulled up by the ears") or in any other capacity. The TiswasOnline website helped with these searches (and numerous other aspects of the new programme), and people could submit their details directly to the production team and apply to be in the cage. A new logo for the programme was produced - it features the regular 'zig-zag' logo (including the Phantom Flan Flinger) with "Reunited" rubber-stamped across it. The official Tiswas Reunited 'mini-site' features exclusive material about the making of the programme, as well as blogs by those who took part in the programme itself (guests and residents of the Cage!) The ITV broadcast referred only briefly to John Asher and Trevor East, the programme's original presenters, and omitted to make any reference to the eighth and final series (possibly because it was the one series in which Reunited's Executive Producer Chris Tarrant was not involved.) Merchandise Tiswas was a pioneer for children's television, making its way to shop shelves. Books, T-shirts, a regular magazine, an album, various singles and even a ceramic money box have all been daubed with the Tiswas logo. =Magazine= A magazine counterpart was produced with interviews with cast, quizzes and letters. This appeared initially as Tiswas Family Fun Book at the beginning of 1981 and developed into Tiswas Magazine from September 1981 to coincide with the final series. =Annuals= Four annual hardbook books were produced in Tiswass later years. Presenter/performer John Gorman wrote the first three (published in the Autumn of 1979, 1980, 1981), and Ollie Spencer the 1983 edition (prepared in spring 1982 and published that autumn, featuring presenters and characters from the final 1981-82 series). =Video compilations= In the early 1990s, three VHS compilations were made available. The majority of Tiswas never survived as recordings, but among collectors, some with the earliest domestic VCRs, and some studio copies of later editions. These compilations were not like ordinary editions of Tiswas, in that 'non-original' content such as music videos, film clips and cartoons were stripped out. Original features like competition spots and pop interviews were also excluded, in favour of highlighting the show's legacy to comedy and visual slapstick. Best of the Best Bits The first compilation, lasting about an hour, and purely full of comedy sketches from the series. Some of the most repeated clips from the series have made the grade for this compilation - notably some News Flash sketches with Lenny Henry as 'Trevor McDoughnut' (including one where the target of the spoof - Trevor McDonald - takes over as a surprise) and the 'viewer's letters' clip where Sally James is pied and drenched in semolina, baked beans and custard. Moving slightly away from comedy, the music video for the Four Bucketeers' "Bucket Of Water Song" is included. More of the Best Bits The second compilation continued in the same vein as the first. Frank Carson being soaked unexpectedly is a running gag, and there is a full rendition of 'Bright Eyes' from Matthew Butler. A music video for The Four Bucketeers' Water Is Wonderful ends the compilation. Comedy Capers This was targeted at the stand-up comedy VHS market at the time, and the inlay cover made great mention of comic legends' appearances, such as Spike Milligan, Michael Palin and Bernard Manning. Content-wise, it is very similar to the previous two compilations, with many sketches being performed by the Tiswas team. However, this compilation has no contribution from the Four Bucketeers. =DVD= Apart from the Tiswas Reunited DVD, released by ITV DVD a week after transmission of the 2007 programme, the only other Tiswas DVD available is The Best of Tiswas. Issued in October 2005 by Network DVD, The Best of Tiswas was a straight DVD issuing of the three VHS compilations - Best of the Best Bits, More of the Best Bits and Comedy Capers. Being on DVD format, it has better picture quality than the VHS version. However, due to the rarity of some Tiswas material (many episodes surviving only on off-air recordings) there is some understandably rough-looking footage here and there. Additionally, the More of the Best Bits compilation is entirely sourced from a VHS copy, for the original VHS release's master tape could not be located in time for transfer. Plans for a second volume are pending, based on sales of the first DVD. References External links * * Tiswas on Paul Morris' SatKids * British Film Institute Screen Online listing for Tiswas * TV Cream - Tiswas A brief history and glossary of Tiswas * Birmingham Site * Contains a comment on the similarity of the logo for the London 2012 Summer Olympics to Tiswas's logo. * Tiswas Producer Glyn Edwards talks about his days on the show Category:1974 British television series debuts Category:1982 British television series endings Category:1970s British children's television series Category:1980s British children's television series Category:British television shows featuring puppetry Category:Children's comedy television series Category:English-language television shows Category:ITV children's television shows Category:Television shows produced by Associated Television (ATV) Category:Television shows produced by Central Independent Television Category:Television series featuring gunge Category:Television series by ITV Studios "

❤️ Curate 🐲

"John Vianney, the Curé d'Ars A curate ( ) is a person who is invested with the care or cure (cura) of souls of a parish. In this sense, "curate" correctly means a parish priest; but in English-speaking countries the term curate is commonly used to describe clergy who are assistants to the parish priest. The duties or office of a curate are called a curacy. Etymology and other terms The term is derived from the Latin curatus (compare Curator). In other languages, derivations from curatus may be used differently. In French, the curé is the chief priest (assisted by a vicaire) of a parish,"Curate". Catholic Encyclopedia. as is the Italian curato, the Spanish cura, and the Filipino term kura paróko (which almost always refers to the parish priest), which is derived from Spanish. Catholic Church In the Catholic Church, the English word "curate" is used for a priest assigned to a parish in a position subordinate to that of the parish priest. The parish priest (or often, in the United States, the "pastor" or "minister") is the priest who has canonical responsibility for the parish. He may be assisted by one or more other priests, referred to as curates, assistant priests,Code of Canon Law, canon 545 in the English translation by the Canon Law Society of Great Britain and Ireland, assisted by the Canon Law Society of Australia and New Zealand and the Canadian Canon Law Society parochial vicarsCode of Canon Law, canon 545 in the English translation by the Canon Law Society of America or (in America) "associate/assistant pastors". Anglican Communion Edgar Sheppard, Curate at Marlow and Hornsey and a canon of St George's WindsorIn the Church of England today, "curate" refers to priests (or, in the first year, transitional deacons) who are in their first post after ordination (usually for four years), and are completing their training (not unlike an apprenticeship). The technical term "curate", as found in the 1662 Book of Common Prayer, meant the incumbent of a benefice, that is the person licensed by the diocesan bishop to the "cure of souls", who, depending on how the benefice income was raised and distributed, was a rector, a vicar, or a perpetual curate.Cross & Livingstone. Oxford Dictionary of the Christian Church (1974), arts "Curate", "Incumbent" & "Perpetual Curate" Although the expression "curate-in-charge" was mainly used of an informal arrangement whereby an incumbent gave substantial responsibility for one of the churches within the parish to an assistant, in law it denoted a cleric licensed by the bishop to exercise some or all of the cure of souls when the incumbent had failed to make adequate provision for them or was subject to disciplinary measures.Neep & Edinger. A Handbook of Church Law for the Clergy A.R. Mowbray & C° (1928), p.25 Once in possession of their benefices, rectors and vicars enjoyed a freehold, and could only be removed after due legal process, and for a restricted number of reasons.Neep & Edinger. A Handbook of Church Law for the Clergy A.R. Mowbray & C° (1928), p.7 and following Perpetual curates were placed on a similar footing in 1838 and were commonly styled "vicars", and this practice was legally recognised in 1868.Cross & Livingstone. Oxford Dictionary of the Christian Church (1974), art. "Perpetual Curate" Clergy (both transitional deacons and priests) who assist the "curate" were, and are, properly called assistant curates, but are often referred to as "the curate". A house provided for an assistant curate is sometimes colloquially called a "curatage". Assistant curates are also licensed by the bishop, but only at the request of the "curate", who had the right of dismissal subject to certain conditions.Neep & Edinger. A Handbook of Church Law for the Clergy A.R. Mowbray & C° (1928), p.24. Although it is customary for a priest to serve as a curate in one or more parishes before becoming an incumbent, it is by no means unknown for priests who have previously been beneficed or consecrated bishop to return to a curacy (as assistant curate), sometimes as a matter of choice. For example, Geoffrey Francis Fisher served as Curate of Trent near Sherborne after retiring as Archbishop of Canterbury in 1961.Carpenter, E., Archbishop Fisher, His Life and Times, London, Canterbury Press, 2012 With the 1968 Pastoral Measure and subsequent legislation, the Church of England has undergone a major process of reform which still continues today, and much of above no longer holds good. Ministers in the Church of England whose main income comes from sources other than their work as clergy may be termed "self supporting ministers" or "curate (SSM)". Terms like "rector" and "curate" were carried overseas with the spread of Anglicanism, but their exact meaning depends on local conditions and regulations. In the Church of Ireland some curates are styled "bishop's curates" as they are accountable directly to the diocesan bishop, while sometimes mentored by local parish clergy, and are perceived to have more autonomy than other assistant curates. In Anglican parishes with a charismatic or evangelical (low church) tradition, the roles of curates are usually seen as being an assistant leader to the overall leader, often in a larger team of pastoral leaders. Many of the larger charismatic and evangelical parishes have larger ministry teams with a number of pastoral leaders, some ordained and others who are not. In the Episcopal Church of the United States, the curacy may be a temporary place to continue training after ordination, similar to an internship,See, Paul Moore, Jr., Presences: A Bishop's Life in the City (1999). or it may be a permanent, subordinant position, more akin to a perpetual curate. =Training= In the Church of England, the ongoing training of assistant curates is typically overseen by officers of the bishops called Initial Ministerial Education (IME) or Continuing Ministerial Development (CMD) Advisers. History Originally a bishop would entrust a priest with the "cure of souls" (pastoral ministry) of a parish. When, in medieval Europe, this included the legal freehold of church land in the parish, the parish priest was a "perpetual curate" (curatus perpetuus), an assistant would be a (plain) curate (curatus temporalis). The words perpetuus and temporalis distinguish their appointments but not the length of service, the apparent reference to time is accidental. A curate is appointed by the parish priest and paid from parish funds. A perpetual curate is a priest in charge of a parish who was (usually) appointed and paid by the bishop. As the church became more embedded into the fabric of feudal Europe, various other titles often supplanted "curate" for the parish priest. "Rector" was the title given to a priest in possession of the tithe income. This right to the income was known as a "living". The title of rector comes from regere—"to rule". Those parishes where a monastery had appropriated the rights to the tithe income, a portion of this income was set aside for a priest to occupy the parish, essentially acting on behalf of the monastery, in other words vicariously – hence "vicar". In some cases, a portion of a tithe for a vicar could exceed the income of some rectors, depending on the value of the livings being compared. Minor canons Minor canons are those clergy who are members of a cathedral's establishment and take part in the daily services but are not part of the formal chapter. These are generally clergy who are nearer to the beginning than the end of their ministries, who have already served their curacy (title post) in a parish church. They are often selected for their singing and liturgical ability. See also * Curate's egg * Roman Curia Notes and references Further reading *Hart, A. Tindal (1970) The Curate's Lot: the story of the unbeneficed English clergy. London: J. Baker *Lewis, Robert Michael (2016) Curacy Express: A Training Resource for New Clergy. Eugene, OR: Wipf and Stock Category:Anglican ecclesiastical offices Category:Catholic priesthood Category:Christian terminology "