I copy this and the photos from Kinsey Marshall’s Facebook post. It is excellent. And deep in my heart, my dream is that the Pope would mandate that the Roman Missal fabricated by Bishop Bugnini be celebrated in this fashion. At least then, there would be continuity between the 1962 Missal and the most recent edition of the Bugnini Missal. That would be a good thing—but it needs official approval not just a contrived boutique usage done by liturgical geeks, if you know what I mean:
The “Unicorn” Novus Ordo: Kinsey Marshall
For fifty years it’s been the rumor in traditional Catholic circles: the reverent Novus Ordo. Not a guitar Mass with felt banners. Not a rushed vernacular Low Mass where the Propers are replaced by “Gather Us In.” The one that looks, sounds, and prays like the Roman Rite actually survived 1969.
People call it a “unicorn” because they’ve heard it exists but never seen it. Ad orientem. Latin Ordinary. Gregorian chant for the Propers. Communion rails. Roman Canon whispered at the high altar. Asperges me on Sundays. The Missal of Paul VI, celebrated with the ars celebrandi the Council fathers knew.
Klaus Gamber said the post-conciliar reform had become a “fabricated liturgy” because that unicorn went extinct. Joseph Ratzinger spent his life insisting it wasn’t extinct — only exiled — and that the whole point of Summorum Pontificum was to teach the Novus Ordo how to be Roman again.
And then you walk into Alt St. Peter’s on the Marienplatz.
The Roman Rite on the Petersbergl
Walk into Alt St. Peter’s on Sunday morning and you step into the liturgical argument Joseph Ratzinger and Klaus Gamber carried on for decades: What does it mean for the Roman Rite to remain itself?
The setting hasn’t changed.
Munich’s oldest parish never installed a freestanding “people’s altar” after Vatican II. The 1730s Baroque high altar by Egid Quirin Asam still stands unobstructed. “Every one of the five weekday and six Sunday Masses in this church continues to be celebrated versus Deum upon this splendid high altar”. The communion rails remain, fitted with a white linen cloth. The tabernacle is central. Pius VI offered Mass here in 1782. Joseph Ratzinger did as Archbishop of Munich and Freising.
The 1970 Missal, celebrated as the Roman Rite
At 10:30am the Hauptgottesdienst begins. This is the Pauline Rite — the Missal of Paul VI — but done with what Ratzinger called the “hermeneutic of continuity.”
1. Asperges / Vidi aquam
Before the principal Sunday Mass, the rite of sprinkling opens the liturgy. Outside Paschaltide the schola intones Asperges me, Domine, hyssopo; in Eastertide it’s Vidi aquam. The celebrant in cope processes from the sacristy, sprinkles the high altar, himself, ministers, choir, and people as he walks the nave. This isn’t nostalgia. It’s the Ritus aspersionis of the 1970 Missal, sung in Gregorian chant because the Graduale Romanum is still the Church’s book of music. The people stand, make the Sign of the Cross, and the Mass flows straight into Gloria.
2. Ad orientem, Latin, and the Roman Canon
The priest faces liturgical east, with the people, toward the crucifix and tabernacle. The Kyrie, Gloria, Credo, Sanctus, and Agnus Dei are routinely sung in Latin — Missa de Angelis on ordinary Sundays, Mozart or Haydn Missa brevis on feasts. The Roman Canon / Eucharistic Prayer I is preferred, said ad orientem in a low voice. Readings and homily are in German, but the ars celebrandi is unmistakably Roman.
3. Communion at the rails
No standing lines. The faithful kneel at the communion rails to receive. Acolytes hold the communion paten. The schola sings a motet — Palestrina, Lassus, Bruckner’s Locus iste — while the organ improvises on the chant.
The musical tradition: Benedict XVI’s Bavaria
Alt St. Peter’s maintains Munich’s kirchenmusik tradition. The parish choir and schola cultivate three layers:
Gregorian chant: Propers from the Graduale Romanum — Introit, Gradual, Alleluia, Offertory, Communion. Not replaced by hymns.
Renaissance/Baroque polyphony: Mass settings and motets by Lassus, who worked in Munich, plus Palestrina and Victoria.
Classical Viennese Masses: On solemnities, the Hauptorgel and orchestra sound with Haydn’s Nelsonmesse, Mozart’s Spatzenmesse, or Bruckner. This is the Festmesse tradition the Baroque altar was built for.
Congregational hymns from Gotteslob are used at Offertory/Recessional, but they don’t displace the Proper. The acoustic of Zimmermann’s rebuilt interior was made for chant and polyphony, not guitars.
Gamber and Ratzinger in the pews
Klaus Gamber, in The Reform of the Roman Liturgy, argued that the post-conciliar reform became a “fabricated liturgy” because it broke organic growth: tables replaced altars, versus populum became ideology, Latin and chant were exiled. He would point to Alt St. Peter and say: “Here is what was not abrogated.” The altar, the rails, the orientation, the Asperges — all preserved, so the 1970 Missal could be grafted onto the living tree instead of planted in a pot.
Joseph Ratzinger, as Cardinal and Pope, made the same point with a different conclusion. In The Spirit of the Liturgy he wrote that ad orientem, Latin, and Gregorian chant aren’t museum pieces but the natural language of the Roman Rite. As Archbishop of Munich he celebrated in this church. As Pope he taught that the Novus Ordo and the 1962 Missal are “two forms of one rite.” At Alt St. Peter you see his thesis: The Pauline Rite is capable of continuity, if celebrated with the spirit of the rite.
The rupture Gamber feared — and Ratzinger labored to heal — never happened on the Petersbergl. The Baroque altar wasn’t wrecked. The Asperges wasn’t dropped. The Missa de Angelis didn’t become “pre-conciliar.”
Sunday at St. Peter’s, then, is an argument in stone and sound: The Roman Rite did not begin in 1969. The Missal of Paul VI, when celebrated versus Deum, with chant, with rails, with Vidi aquam in Eastertide, is still the Roman Rite. Gamber would call it proof that the old was never abolished. Ratzinger would call it proof that the new can be celebrated in continuity.
And the bells — some cast in 1327 — still ring it in.
The unicorn isn’t quite a myth. In Munich, it’s on the Petersbergl. And it’s been there every Sunday since the Council, waiting for the rest of the Church to remember how to ride.























