Category: Liturgy

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The Mass in Slow Motion – The Gloria

 So we have gathered, acknowledged God’s presence in several ways (hymn of praise, incense, veneration of the altar and the greeting of the celebrant). We have examined our consciences and asked God to give us pure hearts and minds to praise him. At most Sunday Masses what comes next is a kind of outburst of praise called the Gloria (Glory to God in the highest!) Knowing and experiencing God’s presence and mercy brings forth joy and a desire to praise him. And so we sing:

Glory to God in the highest, and peace to his people on earth. Lord God, heavenly King,  almighty God and Father, we worship you, we give you thanks, we praise you for your glory. Lord Jesus Christ, only Son of the Father, Lord God, Lamb of God, you take away the sin of the world:  have mercy on us; you are seated at the right hand of the Father:  receive our prayer. For you alone are the Holy One,  you alone are the Lord, You alone are the Most High,  Jesus Christ, with the Holy Spirit,  in the glory of God the Father.  Amen.

The Gloria is a very old and venerable hymn sung by which the Church. It is sung by the congregation, or by the congregation alternately with the choir. If it is not sung it is to be recited by all in unison or alternately. It is sung on Sundays outside the Advent and Lenten seasons, as well as on solemnities and feasts and at special, more solemn celebrations. The text of the Gloria echoes the song of the angels at the Nativity. Further it praises and invokes both the Father and Son and concludes with a brief doxology to the Trinity.

History – The Gloria was not created originally for the Mass. It is and heirloom from the treasure of ancient church hymns. Indeed it is a precious remnant of a literature now mostly lost but once certainly very rich. These hymns imitated and borrowed from biblical themes. Indeed they may even be said to take after the tradition established by Mary who proclaimed her Magnificat by borrowing heavily from the biblical themes with which she was so familiar. So too Zacharia in his Benedictus. Few of these early hymns of the Church remain however. One other hymn which does remain is the Te Deum and it, unlike the Gloria has retained its existence apart from the Mass. The roots of the Gloria may be found as early as the 4th Century where a text very close to our present text is found. Likewise another text from the 7th Century is also very close. Again, this hymn was not originally part of the Mass but was probably sung as the Te Deum is today, as a thanksgiving hymn for feasts and celebration. It was sometimes included in the Mass as a hymn as early as the 6th Century and perhaps even earlier by some accounts. But definitely by the 6th Century Pope Symmachus permitted its use on Sundays and feasts of martyrs but only at a mass presided over by a Bishop. Pope Gregory allowed its use at the Easter Mass even if the Celebrant be only a priest. It was not until the 11th Century that the distinction allowing it only for Bishop’s masses was dropped. This was due to continual requests that it be allowed. Today, the Gloria is said at all masses of a festive character outside of penitential seasons.

A full analysis of the hymn could be a course in itself. However suffice it to say that it is understood to be a hymn of praise which is almost ecstatic in quality. This is not as well brought out in the present English translation for use in this country. However, a look at the Latin text (see appendix 2) is helpful. Lastly, it is well that the Gloria be sung if possible. Reciting the Gloria is comes in a very poor second. It is kind of like reciting the National anthem. We just don’t do this because the very festivity and honor of the song requires it be sung. The Gloria is like this. If at all possible it should therefore be sung. However this is not always possible and it ends up being recited. It should at least be recited in a vibrant and pious manner to avoid the possibility of the text becoming wooden and dull.

In the end, these introductory rites of procession, penance and praise all serve to establish the fact that we are in the presence of God. Casting aside our sin and sorrow we enter God’s presence with reverence, confidence and joy. Next we will pause to pray before we sit to attentively listen to God speak to us.

The following video shows the opening the movent of Vivaldi’s Gloria in D Major. Church music for the Baroque era became very elaborate with the use of orchestras and large choirs. Sometimes the Gloria and Credo of a Mass could last 20 Minutes or more. Also, the text of the Mass had become so well known and popular that it was not uncommon for settings of the Mass to set by the great composers as concert pieces sung outside of Mass. This was an era when the Church influenced the world much more so than today. Enjoy this festive opening movement of the Gloria in D by Vivaldi, a Catholic priest and composer from the early 18th Century.

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The Mass in Slow Motion – The Kyrie (Lord Have Mercy)

Now if I were to ask you if the Kyrie Eleison (Translated “Lord Have Mercy”) were part of the Penitential Rite most likely you’d say “Of course it is.” After all we are asking God’s mercy. But interestingly enough it serves more as an acclamation of praise both historically and liturgically as we shall see.

The History of the Kyrie – the Kyrie is often thought of as a part of the penitential rite but this is not necessarily the case. The General instruction describes it this way: “After the penitential act the Kyrie Eleison is begun unless it has already been used in the penitential act. It is a song in which the faithful acclaim the Lord and ask for his mercy therefore it is usually to be sung by all, that is by the congregation as well as the schola or cantor.” Hence the Kyrie may or may not be a part of the penitential rite. As we shall see in its origins, the Kyrie is historically more a hymn of praise than a penitential act.

The early history may be seen in pagan antiquity. There was the  custom of imploring the help of the gods with the phrase “eleison.” Likewise, the phrase was used in reference to the emperor. A singer would announce some praise of the emperor and the people would respond with this or another cry of homage. However, there are also scriptural roots in the Old Testament. For example, in the Greek translation of the O.T. (the Septuagint)  there are many phrases particularly in the psalms such as, “eleison me Kyrie.” (Have mercy on me Lord) (Psalm 6:2 inter al.) Also in the New Testament there are many places where the phrase is used: Son of David have mercy on us. This phrase is indeed quite common in the N.T. Nevertheless Kyrie litanies where not common in the Church until after the Age of Constantine (4th century) likely due to their connections with paganism. After the persecutions ended and paganism move to the background it was deemed appropriate to use these forms of courtly honor to honor the Lord.

The entrance of the Kyrie into widespread use in the Church may be described as follows. The practice was first reported in use in  Jerusalem wherein the phrase “Kyrie Eleison” was sung in response to a series of petitions sung by a deacon. This practice was noted both within Mass (where it took place after the Gospel) and outside of Mass (for example at Vespers). The practice was brought back to the West probably by returning pilgrims and it was considered widely appealing. Eventually its  use came to be quite universal in the Church. In some areas it was located at the beginning of Mass while in other areas it had its place after the Gospel. Eventually it came to be generally located at the beginning of mass. It was specifically introduced into the Mass by Pope Gelasius in the later half of the 5th century.  The form of the Kyrie was retained as a litany of praise and supplication before God and these prayers grew in elaborateness. You can see the Kyrie Litany of Gelasius HERE .

In a desire to simplify and shorten the liturgy, Pope Gregory the Great in the early 7th century removed the prayers and kept only responses Kyrie eleison and Christe eleison. First this was done only on ordinary days, leaving the prayers on more solemn feast. Later their use faded completely leaving only the responses. The Kyrie responses were said at first only by the people. But gradually the priest and the people began to alternate, responding back and forth with a nine-fold response (KKK,CCC,KKK). Gradually the singing of these became more elaborate and tended to be done by a choir of trained singers. In the Tridentine mass the Kyrie was recited by the priest alternating with the servers in the ninefold Kyrie. In solemn Mass it was also sung by the Choir or schola. But it was NOT considered part of the penitential rite which had take place at the foot of the Altar and was separated from the penitential rite by several things: the ascent of the altar steps, kissing the altar, possibly incensing it, making the sing of cross to begin Mass, reading the Introit (entrance song) and only then reciting the Kyrie.

Today it is returned to having the priest and people alternate in what is usually a sixfold Kyrie. There is also the option of introducing the Kyrie into the penitential rite in which case it is returned to its older litany-like form with certain petitions and/or praises attached to each Kyrie and Christe.

Complicated enough?? The Kyrie has somewhat of a dual personality. It may serve either as a penitential rite or a hymn of praise. However, even when it is used as a penitential act, we still give glory to God on account of his great mercy. The history of the Kyrie Litany gives rise to an appreciation of  the source of our practice today of the intercessory prayers after the Creed (sometimes called the “prayer of the faithful”). In fact, it should be remembered that the response “Kyrie Eleison” may in fact be made instead of “Lord hear our prayer.” More will be said of this later on.

Here is a polyphonic Kyrie, a Kyrie in Gregorian Chant, and a Modern Kyrie litany:

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Diversity on Display – Priests Learn to Sing the Latin Mass

The Traditional Latin Mass can seem challenging to many priests today for several reasons. First many have not studied or mastered the Latin Language. The Latin of the Mass and Breviary is not difficult Latin but it can take a few years for most to feel comfortable celebrating Mass in that language. Second, the ceremonies of the Traditional Latin Mass are much more detailed than the more simplified rituals of the modern Mass. There are more genuflections and signs of the cross, there are details about where to stand at the altar even how to extend one’s hands. These too are not impossible to learn but it takes a little training and a while before a priest might feel comfortable. Third, even if a priests gets comfortable with the low (recited) form of the Mass, the music of the sung form can also provide challenges. Here too the chants are not hard but they are slightly different than the tones used in the modern liturgy.

All these challenges can be met with a little training and time. The following video shows a workshop designed to teach priests how to sing the Traditional Latin Mass

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The Mass in Slow Motion – The Penitential Rite

The Penitential Rite in general – Let us recall that we have just acknowledged and celebrated the presence of Christ among us. First we welcomed him as he walked the aisle of our Church, represented by the Priest Celebrant. The altar, another sign and symbol of Christ was then reverenced. Coming to the chair, a symbol of a share in the teaching and governing authority of Christ, the priest  then announced the presence of Christ among us in the liturgical greeting.  Now, in the Bible whenever there was a direct experience of God, there was almost always an experience of unworthiness and even a falling to the ground! Isaiah lamented his sinfulness and needed to be reassured by the angel (Is 6:5). Ezekiel fell to his face before God (Ez. 2:1). Daniel experienced anguish and terror (Dan 7:15). Job was silenced before God and repented (42:6); John the Apostle fell to his face before the glorified and ascended Jesus (Rev 1:17). Further the Book of Hebrews says that we must strive for the holiness without which none shall see the Lord (Heb 12:14). Thus is makes sense that, acknowledging the presence of the Lord and longing to see him more clearly,  we ought to repent of our sins and seek the Lord’s mercy. How can we, who enter the presence of the Holy not see more clearly our sins and desire to be free of them?

Thus, The priest invites them (the congregation) to take part in the penitential rite which the entire community carries out through a communal confession and which the priest’s absolution brings to an end. He uses these or similar words, Let us acknowledge our sins that we may worthily celebrate these sacred mysteries. The priest and people recall their sins and repent of them in silence. The penitential rite may take a number of different forms.

  • A confiteor (I confess) recited by the priest and people together followed by the absolution
  • A rarely used Miserere consisting of the following formula:
    • Lord We have sinned against you. Lord Have Mercy.
    • Lord Have Mercy
    • Lord show us your mercy and love.
    • And grant us your salvation.
  • A Kyrie Litany. There are numerous forms for this given in the sacramentary which are not themselves seen as an exhaustive list since, once again, the directive indicates that “the priest (or some other suitable minister) makes the following or other invocations. Here is one sample:
    • You raise the dead to life in the Spirit. Lord have mercy.
    • You bring pardon and peace to the sinner. Christ have mercy.
    • You bring light to those in darkness. Lord have mercy.

History of the Penitential Rite. It is a rather surprising fact to many that, strictly speaking, there is no history to the penitential rite in the Mass prior to Vatican II. The inclusion of the penitential rite as a communal gesture is an innovation in the new order of the mass. “But Father, but Father!” you might say, “I remember the old Mass and hearing the priest and servers recite the confiteor and strike their chest three times!” True there was a confiteor in the Tridentine Liturgy but this was a private devotional gesture between the priest and the servers done at the foot of the altar which was actually prior to the actual beginning of Mass. Thus the introduction of this element into the Mass itself and as a communal gesture is new. Some have suggested a historical precedent may be found in Protestantism. Communal confession of sins was first introduced into protestant communion services of the 16th century. Others However, see its roots in the Eastern liturgies wherein a penitential act at the beginning of Mass is almost universal and very ancient in origin. The form of this practice varied however and was sometimes linked to the incensing at the beginning of mass. Even as early as the Didache (written ca 90-100 AD) a confession of sins is prescribed before the Sunday celebration of the Eucharist: “On the Lord’s day gather together, break bread and give thanks after confessing your transgressions so that your sacrifice may be pure. Let no one who has a quarrel with his neighbor join you until he is reconciled, lest your sacrifice defiled. For this is that which was proclaimed by the Lord, “In every place and time let there be offered to Me a clean Sacrifice’” Elements of the Penitential rite (the confiteor and the kyrie) do have a history and their histories will be dealt with separately below.

The History of the Confiteor (I Confess). The history of this part of the Mass is somewhat convoluted. The remote history may be found in the Western Liturgy  in the silent worship which the Pope made when he first came to the altar. Later (by the 7thcentury) this silent prayer became more elaborate with the directive being that the celebrant lie prostrate before the altar. Likewise, the nature of the prayer came to be more specified. The celebrant was directed to pour forth prayers for himself of for the sins of the people. The general term for this was the apologiae and may be called the forerunner of the confiteor. Thus a penitential theme is introduced. By the 11th century the Confiteor had developed as a specific dialogue between the Celebrant and those immediately around him. Thus he not only acknowledges his sinfulness before God but also before those who serve him and asks their mediation on his behalf. The actual text of the confiteor, was taken from those used in sacramental confession. The oldest confiteor formulas were simple and brief. For example here is an 11th Century version from Cluny, “I confess to God and before all His saints and you, Father, that I have sinned in thought word and deed through my fault. I ask you to pray for me. They confessed before God and the heavenly Church (i.e. the saints) as well as asking intercession from the Church on earth. In the Gothic period there grew a practice of listing some of the Saints by name. This is evident in the confiteor used in the Tridentine Mass. The shorter, simpler version of the confiteor now prescribed is closer to the oldest formulas although the angels and the Mother of God are still specifically mentioned in addition to the general phrase “all the saints.” Both versions can be compared HERE. One other difference today from the Tridentine Mass is that there is no longer a separate recitation of the confiteor for priest and the servers. Now the communal aspect of the act is stressed even while the personal aspect is retained: I confess.

The History of the Kyrie is much more complicated and will be covered in a  separate post.

Sometimes in the Extraordinary Form of the Mass there is a second recitation of the  Confiteor just prior to communion that may even be sung.

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The Mass in Slow Motion – The Greeting by the Celebrant

We continue our look at the Mass with the greeting of the celebrant. Earlier instalments of this series can be seen in posts below.

The celebrant standing at the Chair greets the assembled people in one of the following ways:

  • 1.  The grace of our Lord Jesus Christ and the love of God and the fellowship of the Holy Spirit be with you all.
  • 2.  The grace and peace of God our Father and the Lord Jesus Christ be with you.
  • 3.  The Lord be with you.
  • 4.  Peace be with you. (Only Bishops may use this greeting)

In each case the people respond: “And also with you.”

Here again, we hear it all so often we mis the point! But through his greeting the priest declares to the assembled community that the Lord is present! The greeting and the congregation’s response expresses the mystery of the gathered Church and that Christ Jesus is among us. For, as the Lord says in the Scripture, “Where two or three are gathered in my Name, there am I in the midst of them. (Matt 18:20) The greeting ritual is both theological and descriptive. Something powerful and wonderful has just been told to us. Therefore, informal additions by the clergy such as “Good Morning everyone” are not called for or helpful here. To announce to us that the Lord and his grace are both present and available to us is far better than some colloquial form of hello, remarks about the weather or the progress of the local sports team. We need to grasp the significance of what is taking place to see how inappropriate such light banter is at this moment. We are not just in any gathering, we are with the Lord and He with us and his grace and mercy are available to us! Indeed and in fact the Lord is present and ministering to us. The ritual does allow for the celebrant to add some introductory remarks after the greeting: After the greeting of the people, the priest…may very briefly introduce the faithful to the Mass of the day. (GIRM # 50) Notice the purpose of such remarks is to draw the faithful more fully into the feast they are celebrating or perhaps to announce the basic theme of the readings that are about to be read, or perhaps the mystery of the Eucharist that is about to unfold. Here again light banter about extraneous matters seems out of place. Rather, that the Lord is present and he is ministering to us and unfolding for us the mystery of his Grace is the most basic tone of this moment of greeting.

History – Originally it seems the Roman rite began simply with the readings. This was probably reflective of the very small congregations which gathered in homes or other places. There was little need for a formal greeting. However, as the Church emerged from persecution and communities became larger and processions longer, a greeting of some kind became more of a necessity. Augustine mentions in the City of God 22:8 “Salutavi populum” (I greeted the people) as he began Mass. Likewise, in solemn functions of the 7th century the first thing that happened when the Pope reached the Altar was a series of greetings for the co-liturgists (much as in our present day sign of peace). But in the Middle Ages the greetings came more and more to be paired down while rites such as prayers at the foot of the altar and other introductory rites were added. In the Tridentine Liturgy, the greeting was a simple Dominus vobiscum (the Lord be with you) but it was not proclaimed to the congregation until after the Kyrie and Gloria and immediately before the opening prayer. Today as is seen above, the greeting is restored but is still brief in nature. Further, the greetings include a richer drawing from the written greetings of Paul in the New Testament as well as the greeting by Jesus to his Apostles after his resurrection, “Peace be with you.”

Jesus Is Here Right Now

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More Liturgy in the Movies

Here is a clip from the Movie “Joan of Arc” depicting the coronation of the Charles VII of France in Reims. I am not sure how accurate the Liturgy is since I am not familiar with coronations nor am I even sure if there is such an actual Rite in the the Roman Ritual. Nevertheless it is beautifully filmed. It also displays a time when the Church and State were often closely allied (too closely??). But it was what it was.

Charles VII ascended to the French Throne after the death of his father. However his nephew also claimed the throne. After some  intrigue he had insisted that he was King but was really a toothless tiger due to the presence of the English Forces in France. Joan of Arc, after a vision was given permission by Charles to lead forces against the English.

Joan of Arc then set about leading the French forces at Orléans, forcing the English to lift the siege and thus turning the tide of the war. After the French won the Battle of Patay, Charles was crowned King Charles VII of France on 17 July 1429, in Reims Cathedral as the de jure king. This scene is depicted in this movie clip

Joan was later captured by the Burgundians who handed her over to the English. Tried for heresy she was burned at the stake on 30 May 1431. Charles VII did nothing to save the one to whom he owed his throne.

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The Mass in Slow Motion – The Sign of the Cross

Now comes a gesture that is very familiar to Catholics but to the unitiated may also seem odd, (a kind of shoeing away of flies or something) and words are said that are grammatically incorrect! I’ll explain that later.

Standing at the Chair the celebrant begins the Mass with the sign of the cross. This gesture is perhaps one of the most recognizably Catholic traditions in any ecumenical gathering. You can always tell the Catholics immediately by this instinctive gesture deeply ingrained in any Catholic.

The origin of this gesture goes back to the earliest days of Christianity where it seems to have been more of sign of the cross traced on one’s forehead. Tertullian is said to have remarked in the early 3rd Century, “We Christians wear out our forehead with the sign of the cross!” This practice probably developed from Scriptural allusions to the Tau or “T” marked on the forehead of those to be saved from destruction (Ex. 17:9-14; Ez 9:4, Revelation 7:3, 9:4, 14:1). Over the years of the first centuries the practice seems to have developed of adding fingers to this tracing action. Two fingers representing the two natures of Christ were added as an act of faith against the monophysite heresy. Further developments took place to enhance the gesture. Now, by the fourth century three fingers (thumb, index and middle finger) are used to represent the Trinity and the other two fingers are folded back to the palm to represent the two natures of Christ. With all these symbolisms going on with the blessing hand it next developed that a larger area than the forehead was crossed. Now the downward motion tended to extend to the breast and eventually the whole chest was signed by reaching out to the shoulders. By the 9th Century the way to make the sign of the cross was pretty well spelled out by legislation from Rome and the Popes. As you can see the sign of the Cross became more than a way to bless oneself, it also became a statement of faith in the Trinity and in the two natures of Christ.

In the western Church as the monophysite controversy died down the Trinitarian faith has tended to take precedence and came to be spelled out with these words: “In the Name of the Father and of the Son, and of the Holy Spirit” to which all respond, “Amen.” Now have you noticed that this is not gramatically correct? Grammatically one should say, “In the names of the Father….Son and Holy Spirit.” But here too, going back to Scripture itself, the grammatical “error” bespeaks the truth that there is only ONE God, therefore one name, but there are three Persons in the One God.” So aren’t we clever here!

So the sign of the cross is an act of and a sign of Faith in the Triune God. It thus gives significance to all that is to follow in the Mass, placing it within the context of Faith. The Sign of the Cross is also a recollection of the Crucifixion. In this regard the Mass, as a making present of the once-for-all sacrifice of the Lord Jesus on Calvary, is especially suited to being opened by the sign of the cross. Lastly, and by extension, it is a visible movement into the Holy by all present since it puts demons to flight. Many of the Fathers of the Church speak of this aspect of the Sign of the Cross. For example, St. Cyril states that at the sign of the cross “demons tremble and angels recognize it. Thus the former are put to flight, while the latter gather about it as something pertaining to themselves.” (From his Catechetical Lectures). Historically the number of the signs of the cross throughout the Mass increased especially during the gothic period of the middle ages. The Old Latin Mass has a large number of signs of the cross. In the New Mass there has been the reduction of this number to two, one at the beginning the other at the end.

Now the last thing we should say about all this is that to make the sign of the cross is a bold gesture! In effect we are glorying in the Cross of Christ. We are not ashamed of it. Is this true for you? Many today are actually embarrassed by the cross. How is this you say? Well notice how they protest any time the Church articulates the demands of the Gospel. For example that we should turn away from sin, that babies  should be brought to birth and never aborted, that Euthanasia is wrong and that we cannot simply do whatever we please and call it good. Many immediately protest and speak of the need for greater compassion and less strict norms etc. And many Catholics, far from defending the demands of the Gospel refuse to hold up the cross for others to see. Instead, embarrassed by the demands of the cross they refuse to affirm its power and its demands. Be careful before you make that sign of the cross! It means something. It means that we cannot simply refuse the demands of being a disciple but rather glory in the Cross of our Lord Jesus Christ.

 Eastern Rite Catholics make the sign of the cross a little differently than Roman Catholics as depicted in this video:

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The Mass in Slow Motion – The Celebrant Goes to the Chair

After reverencing the altar the celebrant goes to the chair. Now perhaps a word or two on the chair is called for. Some one may wonder why the priest has a chair of some prominence. Why does he not simply sit among the faithful and come forward as necessary? Here again, there is a history to know.

In the ancient world, the Chair was a symbol of authority and office. We still have something of this today in the concept of the Judge’s Bench. The chair was also a symbol in the ancient world of teaching authority. It is our usual experience in the modern world that teachers stand when they teach or give lectures. But in the ancient world a teacher sat as they taught. Now they didn’t just sit in some casual way with their legs corssed and sipping coffee. Rather they were seated formally and in a prominent place in the room. You may remember that Scriptures usually record that when Jesus taught, he would sit (Mat 5:1; Luke 4:20; Mark 13:3; John 8:2; and dozens of other examples). It is my experience that many people find this fact surprising since they always imagine Jesus standing to preach but, it is almost never the case that he does that. He, like every ancient Rabbi and teacher sat to teach. So, the Chair has an ancient history of governance and teaching authority.

Now the Bishop’s Chair is especially imbued with this meaning and the priest’s chair only in a sense that is subordinate to the local Ordinary (i.e. chief Bishop). It is interesting to note that a bishop is given the special prerogative to sit in the sanctuary to preach. Most of them I notice do not use this option except at very formal times like ordinations. As a general rule, priests are expected to stand today at the pulpit or ambo when they preach. Despite this the priest’s chair continues to carry these ancient meanings already mentioned.

There is also a more modern notion given to the meaning of the chair in the General Instructions of the Roman Missal: The chair of the priest celebrant must signify his office of presiding over the gathering and of directing the prayer. …Any appearance of a throne, however, is to be avoided. (G.I.R.M # 310). Thus the Chair of the Priest also indicates a role of presiding over the Liturgical Assembly.

Now, in the end though, all three of these roles (governing, teaching and presiding) really refer to Christ. The priest, through his reception of the Sacrament of Holy Orders in configured to Christ and acts in persona Christi In the person of Christ). Thus the prominence of his chair is really a way to honor Christ who is the true High Priest of every liturgy. The priest’s chair is Jesus’ chair. It is ultimately He who governs, teaches and presides over us and He ministers through his priest. Pray for the grace to see beyond “Father Smith” and to see Jesus presiding over and ministering to you. In this sense the chair of the priest should have a very special place in your mind and a prominent place in our sanctuary. Surely the tabernacle and altar should be in the central axis but also prominent should be the Chair of the Priest, the Chair of Christ. 

The following video shows the Pope preaching at National’s Stadium in Washington DC. He preaches from the seated position, the more anciet way of teaching.