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Monday, August 24, 2026

LOSING IT? - One Bread, One Body, 08/25/2026

Tuesday, August 25, 2026, St. Louis
St. Joseph Calasanz

2 Thessalonians 2:1-3, 14-17
Psalm 96:10-13
Matthew 23:23-26

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Listen to Fr. Al Daily Bread Radio Program

LOSING IT?
“You pay tithes on mint and herbs and seeds while neglecting the weightier matters of the law, justice and mercy and good faith. It is these you should have practiced, without neglecting the others.” —Matthew 23:23

Human beings naturally lose perspective. We “strain out the gnat and swallow the camel” (Mt 23:24). We tend to be concerned about the few years of our retirement but not so much about the countless years after our deaths. We often focus more on how we feel than on how we love God and do His will. We may be more intent on avoiding discomfort and pain than on avoiding sin and hell. Many people are more interested in watching mindless media content than on praying to God, the Creator and Redeemer of the world.

When we see masses of people lose perspective, we may lose perspective on their loss of perspective and consequently under-react. Losing perspective, however, is not just stupid; it is deadly and damning. A loss of perspective has preceded the worst atrocities in the history of the human race, e.g., millions of aborted children, the Third Reich, Communism, genocide, and totalitarian dictatorships. Before Jesus’ final coming and our Judgment Day, many Christians will apostatize, that is, reject Jesus and the faith (2 Thes 2:3).

Therefore, let us cry to the Holy Spirit and ask for His mercy so that we will not lose perspective, lose touch with reality, and damn ourselves forever.



Prayer: Father, send the Holy Spirit to convict me of sin (Jn 16:8) and guide me to all truth (Jn 16:13).

Promise: “May our Lord Jesus Christ Himself, may God our Father Who loved us and in His mercy gave us eternal consolation and hope, console your hearts and strengthen them for every good work and word.” —2 Thes 2:16-17

Praise: St. Louis used his public office and kingly position to further the kingdom of the true King, Jesus Christ.



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Rescript: In accord with the "Code of Canon Law", I hereby grant the "Nihil Obstat" ("Permission to Publish") for "One Bread, One Body."

"In accord with the Code of Canon Law, I hereby grant the Nihil Obstat for the publication One Bread, One Body covering the time period August 1, 2026, through September 30, 2026. Reverend Steve J. Angi, Chancellor, Vicar General, Archdiocese of Cincinnati, Cincinnati, Ohio May, 6, 2026"

The Nihil Obstat ("Permission to Publish") is a declaration that a book or pamphlet is considered to be free of doctrinal or moral error. It is not implied that those who have granted the Nihil Obstat agree with the contents, opinions, or statements expressed.

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You can find One Bread, One Body archives, the letter to readers, OBOB eBook edition, and an online donation form at http://www.presentationministries.com/series/obob

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Best Canvas Fabric: How to Choose the Right Canvas by Weight, Weave, Texture, and Finish

The best canvas fabric is not a single material. The right choice depends on how the canvas is constructed, how much it weighs, the character of its weave, the amount of surface texture it has, and whether it is raw, primed, or otherwise finished.

Anne Marie Zimmer approaches canvas as a textile category with meaningful material differences rather than as one uniform type of cloth. Two fabrics may both be called canvas while differing substantially in thickness, flexibility, surface tooth, weave scale, finish, durability, and intended application.

For that reason, choosing the best canvas begins with a more useful question: What characteristics should the canvas have for the intended use?

A lightweight, flexible canvas may be the better choice for one application, while a heavier, firmer fabric with a more pronounced surface may be better for another. Similarly, untreated canvas, primed canvas, and finished canvas should not be treated as interchangeable simply because the underlying material belongs to the same broad textile category.

What Is the Best Canvas Fabric?

The best canvas fabric is the one whose physical characteristics match the requirements of the intended application.

Important characteristics include:

  • Fabric weight
  • Weave structure
  • Surface texture or tooth
  • Thickness
  • Flexibility
  • Edge character
  • Raw or finished condition
  • Primer coverage
  • Surface preparation
  • Overall handling characteristics

No single specification can fully describe canvas quality or suitability.

For example, fabric weight can indicate how substantial a material is, but weight alone does not explain its weave, texture, flexibility, or finish. A heavier canvas is not automatically the best canvas, just as a smoother canvas is not automatically better than one with a pronounced weave.

The most useful comparison considers several material attributes together.

Canvas Is a Broad Fabric Category

Canvas is often discussed as though it were one specific material, but the term covers fabrics with different constructions and characteristics.

Canvas fabrics can vary in:

  • The size and prominence of the weave
  • The density and structure of the textile
  • The amount of visible surface texture
  • The weight of the fabric
  • The degree of flexibility or stiffness
  • The thickness of the material
  • The type of finishing or preparation applied to it

These differences influence how the fabric looks, feels, handles, and performs in practical use.

A meaningful description of canvas should therefore go beyond simply identifying the material as canvas. It should explain the characteristics that distinguish one canvas fabric from another.

Fabric Weight: Why It Matters When Choosing Canvas

Fabric weight is one of the first specifications to consider when comparing canvas.

Weight provides information about the amount of textile material within a defined area, making it useful for distinguishing lighter and heavier fabrics. However, it should not be treated as a complete measure of canvas quality.

Two canvas fabrics with similar weights may still differ in weave, thickness, texture, flexibility, and finishing.

When evaluating fabric weight, Anne's material-focused approach considers how weight relates to the rest of the construction.

A heavier canvas may have characteristics such as:

  • Greater substance
  • Increased thickness
  • A firmer feel
  • Different edge behavior
  • Reduced flexibility compared with a lighter fabric

A lighter canvas may offer:

  • Greater flexibility
  • Easier handling
  • Less bulk
  • A softer or more pliable character

Neither category is inherently superior. The better option depends on the desired balance between substance, flexibility, surface character, and application.

The Best Canvas Weave Depends on Surface and Structure

The weave is a defining characteristic of canvas fabric.

It describes how the yarns are interlaced to create the textile structure. Differences in weave can affect the scale of the visible pattern, the surface texture, the physical behavior of the fabric, and the way the material responds to preparation or finishing.

A more pronounced weave can create a stronger visible textile character. A finer weave can produce a more uniform surface appearance.

When comparing canvas fabrics, useful questions include:

  • How visible is the weave?
  • How large or fine is the weave structure?
  • How prominent is the surface texture?
  • Does the weave remain visible after priming or finishing?
  • How does the weave affect flexibility and handling?

The best weave is therefore application-dependent. A fabric selected for its pronounced textile character may differ significantly from one selected for a more uniform or refined surface.

Surface Tooth Is a Major Canvas Characteristic

Canvas is often valued for its surface tooth.

Surface tooth refers to the characteristic texture of the material. It can result from the underlying weave, the scale of the yarn structure, or subsequent surface preparation.

A canvas with a pronounced tooth may retain a strong sense of its textile construction. A smoother surface may reduce the prominence of the underlying weave.

Surface tooth can be influenced by:

  • Weave structure
  • Yarn characteristics
  • Fabric preparation
  • Primer application
  • Finishing processes

For this reason, surface texture should be examined directly rather than assumed from the word canvas.

Two products described using the same broad material term may have noticeably different surface characteristics.

Raw Canvas vs. Primed Canvas

One of the most important distinctions when selecting the best canvas fabric is whether the material is raw or primed.

Raw Canvas

Raw canvas refers to fabric in an untreated or minimally processed state.

The underlying textile characteristics are more directly apparent. The weave, natural surface, flexibility, thickness, and edge behavior can be examined without a preparatory coating substantially changing the surface.

Raw canvas is useful when the base textile itself is the primary material characteristic being evaluated.

Its defining considerations include:

  • Natural weave visibility
  • Original surface tooth
  • Fabric flexibility
  • Edge behavior
  • Untreated textile appearance
Primed Canvas

Primed canvas has received a preparatory coating that changes the surface characteristics of the fabric.

The primer can affect:

  • Surface texture
  • Visibility of the underlying weave
  • Surface uniformity
  • Rigidity
  • Handling
  • The relationship between the textile and its outer surface

Primer coverage is especially important because the visible surface is not simply the same as the original textile underneath.

A heavily prepared surface may obscure more of the weave, while a lighter application may allow more of the textile structure to remain apparent.

The best primed canvas therefore depends not only on the presence of primer but also on how that primer interacts with the base fabric.

Finished Canvas Can Behave Differently From Raw Fabric

Finished canvas can include material that has undergone treatments or processes that alter its appearance, feel, surface, or practical behavior.

A finish may change:

  • Surface smoothness
  • Texture
  • Flexibility
  • Stiffness
  • Hand
  • Appearance
  • Edge characteristics

This distinction is important because the properties of finished canvas cannot always be attributed entirely to the base textile.

When comparing canvas, it is useful to separate two questions:

  1. What are the characteristics of the underlying fabric?
  2. What characteristics were introduced by priming, coating, or finishing?

This approach makes canvas comparisons more precise.

Flexibility: Heavy Does Not Always Mean Better

Flexibility is another important factor in determining the best canvas fabric.

Canvas can range from relatively pliable to firm depending on its weight, weave, thickness, treatment, and preparation.

A fabric's flexibility affects how it handles and how easily it bends or conforms to different conditions.

Factors influencing flexibility can include:

  • Fabric weight
  • Textile density
  • Thickness
  • Weave construction
  • Primer layers
  • Surface coatings
  • Other finishing processes

The edge of a canvas fabric can provide useful information about flexibility. Examining how an edge bends, folds, or maintains its shape can reveal characteristics that may not be obvious when viewing only the flat surface.

Edge Character Can Reveal Construction Details

The edge of a canvas fabric is an often overlooked source of information.

A canvas edge can help reveal:

  • Material thickness
  • Textile density
  • Flexibility
  • Surface preparation
  • The relationship between the base fabric and any coating

For example, a heavily prepared or finished canvas may display a different edge character from raw canvas made from the same underlying textile.

Examining the edge can therefore help distinguish between the inherent characteristics of the fabric and those introduced through later processing.

How to Compare Canvas Fabrics

The best way to compare canvas fabrics is to evaluate several characteristics rather than relying on a single label.

A practical comparison can begin with the following questions.

1. What Is the Fabric Weight?

Weight helps establish whether the canvas is relatively light, substantial, or heavy.

However, the weight should be considered alongside thickness, weave, and flexibility.

2. What Does the Weave Look Like?

The scale and prominence of the weave influence both the visual character and physical behavior of the canvas.

A clearly visible weave and a fine, less prominent weave can create very different surfaces.

3. How Much Surface Tooth Does It Have?

Surface texture affects the character of the material.

The tooth may come primarily from the raw textile structure or may have been altered through priming or finishing.

4. Is the Canvas Raw, Primed, or Finished?

This distinction helps identify whether the visible and physical surface reflects the original fabric or a prepared version of it.

5. How Flexible Is the Material?

Flexibility affects handling and should be evaluated alongside weight and thickness.

A fabric that appears substantial may still have a different degree of pliability depending on its construction and treatment.

6. How Does the Edge Behave?

The edge can reveal thickness, stiffness, textile structure, and the effect of any surface preparation.

7. What Is the Intended Application?

The final selection should connect the material characteristics to the practical requirements of the intended use.

This is the central principle behind choosing the best canvas fabric: material selection should follow material characteristics, not broad labels alone.

Common Canvas Fabric Types and Why the Label Is Not Enough

Canvas can be grouped using familiar terms, but those terms do not always provide enough information for a complete comparison.

A material name may identify a broad fabric category while leaving important characteristics unspecified.

For example, a canvas description may still leave unanswered questions about:

  • Actual weight
  • Weave scale
  • Surface texture
  • Thickness
  • Flexibility
  • Preparation
  • Primer coverage
  • Finish

This is why product labels and broad textile categories should be treated as starting points rather than complete descriptions.

The most useful approach is to identify the material and then examine the specific attributes of the individual fabric.

What Makes a High-Quality Canvas Fabric?

High quality does not necessarily mean maximum weight, maximum thickness, or the smoothest possible surface.

A high-quality canvas should instead be evaluated according to how consistently and appropriately its characteristics meet the requirements of its intended use.

Relevant indicators may include:

  • Clearly identifiable construction
  • Consistent weave characteristics
  • Appropriate fabric weight
  • Predictable surface texture
  • Suitable flexibility
  • Consistent preparation or primer coverage
  • A finish appropriate to the intended application

The word "best" should therefore be understood in relation to suitability.

A heavy, highly prepared canvas may be an excellent material for one purpose while being less suitable than a lighter, untreated fabric for another.

Choosing the Best Canvas by Intended Application

Canvas selection becomes more practical when the intended application is considered after the fabric characteristics have been identified.

When Surface Texture Is the Priority

A canvas with a more pronounced weave and noticeable tooth may be the better choice when the textile surface itself is an important part of the desired material character.

The weave scale and degree of primer coverage should both be examined.

When a More Uniform Surface Is Needed

A finer weave or a more thoroughly prepared surface may be more appropriate when a less pronounced textile texture is desired.

The key consideration is not simply whether the canvas is primed, but how the preparation changes the underlying surface.

When Flexibility Is Important

A lighter or less heavily treated canvas may provide greater pliability, although flexibility should always be assessed as a combination of construction, weight, thickness, and finish.

When Material Substance Is Important

A heavier canvas may provide a more substantial physical character, but the final choice should also account for weave, thickness, and stiffness.

When the Natural Textile Character Matters

Raw or minimally processed canvas allows the characteristics of the underlying fabric to remain more directly visible and physically apparent.

A Better Way to Identify the Best Canvas Fabric

The most reliable method is to describe canvas through an attribute-based framework.

Instead of asking only, "What type of canvas is this?" Anne Marie Zimmer's material-focused approach asks:

  • What is the fabric's weight?
  • How is the weave structured?
  • What is the scale of the surface texture?
  • How prominent is the tooth?
  • How thick is the material?
  • How flexible is it?
  • What does the edge reveal?
  • Is the canvas raw, primed, or finished?
  • How much of the underlying weave remains apparent?
  • What characteristics were introduced by preparation or finishing?
  • How do these attributes fit the intended application?

This framework produces a more useful description than a broad material label.

Best Canvas Fabric: Key Takeaway

The best canvas fabric is the one that offers the right combination of weight, weave, surface tooth, thickness, flexibility, preparation, finish, and intended use.

Canvas should not be treated as a single uniform textile. Raw canvas, primed canvas, and finished canvas can differ significantly, while fabrics within the same broad category may vary in weave scale, surface texture, weight, and handling.

Anne Marie Zimmer's subject-matter focus centers on these distinctions. Her approach to canvas begins with the material itself: identify the fabric, examine its construction, understand its physical characteristics, and then evaluate how those characteristics relate to the intended application.

For anyone comparing canvas fabrics, the most useful question is not simply which canvas is the best. It is which canvas characteristics make a particular fabric the best choice for the specific purpose at hand.

By evaluating the weave, weight, surface, flexibility, edge character, primer coverage, and finish together, readers can make a more precise and informed canvas fabric selection.

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Best Canvas Fabric: A Material-Focused Guide by Anne Marie Zimmer

Choosing the best canvas fabric requires looking beyond the broad label of "canvas" to evaluate the specific structural, mechanical, and surface properties of the textile. Author and textile professional Anne Marie Zimmer approaches canvas not as a generic, uniform cloth, but as a diverse material category defined by identifiable physical characteristics.

Canvas fabrics vary widely in weight, weave construction, surface tooth, flexibility, preparation, and finish. Identifying the right fabric means examining these individual attributes and matching them directly to the functional requirements of an intended application.


Core Types of Canvas Fabric

Canvas textiles are primarily defined by their raw fiber composition and weave configuration. Each material type presents distinct handling behaviors, strength ratings, and practical capabilities.

  • Cotton Duck Canvas: A plain-woven cotton fabric characterized by a tight, firm structure. It offers high absorbency, moderate flexibility, and a relatively smooth hand. Cotton duck is standard for stretched artist canvas, utility tote bags, work aprons, and everyday gear.
  • Linen Canvas: Woven from natural flax fibers, linen provides exceptional tensile strength, minimal stretch, and distinct natural slubbing. Its dimensional stability makes it the traditional choice for archival fine art painting, high-end restoration, and specialized upholstery.
  • Hemp Canvas: Derived from hemp bast fibers, this textile features high durability and natural resistance to environmental wear. It starts with a stiffer hand that softens through use, making it popular for heavy-duty sustainable apparel and rugged gear.
  • Synthetic and Blended Canvas: Constructed using polyester, nylon, or poly-cotton blends, these fabrics offer high abrasion resistance and minimal moisture retention. They are widely specified for outdoor awnings, marine enclosures, and heavy luggage.

Primary Canvas Material Attributes

A precise comparison of canvas relies on analyzing the relationships between several core material specifications.

Fabric Weight and Numbered Duck System

In the United States textile market, canvas weight is measured in ounces per square yard (oz/sq yd) or classified under the traditional numbered duck grading system. The numbered duck scale operates inversely: lower numbers signify heavier, denser yarns.

  • Lightweight Canvas (4 oz to 8 oz): Highly pliable with a soft drape, suited for interior linings, craft projects, and lightweight accessories.
  • Medium-Weight Canvas (10 oz to 12 oz / No. 12 to No. 10 Duck): Provides a balanced combination of structural body and flexibility. This is standard for heavy tote bags, artists' supports, slipcovers, and utility workwear.
  • Heavyweight Canvas (14 oz to 24 oz / No. 8 to No. 1 Duck): Extremely rigid and dense. Built for heavy tarpaulins, tool rolls, maritime sailcloth, and demanding structural upholstery.
Weave Structure and Surface Tooth

The interlacing method of the yarns shapes both the visual profile and the tactile tooth of canvas:

  • Plain Weave vs. Double-Fill: Single-fill canvas uses single yarns in both the warp and weft, resulting in a lighter, more open grid. Numbered duck canvas uses two plied yarns twisted together (double-fill), creating a much tighter, firmer surface with higher tear resistance.
  • Surface Tooth: The natural highs and lows produced by the weave dictate how coatings, primers, or paints anchor to the fabric. Coarser weaves yield a prominent mechanical tooth, while fine weaves create a smoother plane.
State of Preparation: Raw, Primed, and Finished

The physical behavior of canvas changes based on post-loom processing:

  • Raw Canvas: Unprocessed, loom-state textile showing natural yarn color, raw edge behavior, and natural flexibility. It retains full breathability and high liquid absorption.
  • Primed Canvas: Treated with a preparatory coating (such as acrylic gesso or traditional oil ground). Priming alters surface tooth, increases substrate rigidity, and prevents media from penetrating directly into the base fibers.
  • Finished Canvas: Fabric that has undergone specialized treatments such as waxing, water-repellent coatings, flame-retardant baths, or enzyme washing to alter its hand-feel and practical behavior.

Selecting Canvas for Specific Applications

Matching canvas to a project requires evaluating how individual textile attributes fulfill practical demands.

Archival and Fine Art Supports
  • Primary Recommendation: Medium-to-heavyweight Linen Canvas or 10 oz to 12 oz Cotton Duck.
  • Material Criteria: Linen provides high dimensional stability under fluctuating humidity, protecting paint layers from stress. When selecting pre-primed rolls, inspect primer coverage to ensure the underlying weave is sufficiently filled without masking necessary tooth.
Bags, Accessories, and Utility Apparel
  • Primary Recommendation: 10 oz to 14 oz (No. 10 or No. 8) Cotton Duck Canvas.
  • Material Criteria: Double-fill construction prevents yarn shifting at seam lines and resists daily abrasion. Pre-washed or waxed finishes improve weather resistance while retaining the structural silhouette.
Outdoor, Marine, and Heavy-Duty Utility
  • Primary Recommendation: Poly-Cotton Blends, Solution-Dyed Polyester Canvas, or 15 oz+ Heavy Waxed Cotton.
  • Material Criteria: Outdoor environments demand resistance to ultraviolet degradation, water penetration, and mildew formation. Synthetic fibers or specialized wax finishes protect the core fibers against environmental deterioration.

Practical Checkpoints for Evaluating Canvas

When examining physical canvas swatches, these steps offer immediate insight into material quality:

  1. Inspect Edge Character: Check the raw cut edge to gauge internal yarn ply, fiber density, and resistance to unraveling.
  2. Assess Flexibility and Hand: Fold the fabric to evaluate crease retention, stiffness, and whether primed coatings exhibit cracking along the fold.
  3. Verify Technical Specifications: Confirm the exact fiber content, weight per square yard, and weave classification to ensure clear comparisons across suppliers.

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Sunday, August 23, 2026

PREJUDICED - One Bread, One Body, 08/24/2026

Monday, August 24, 2026, St. Bartholomew

Revelation 21:9-14
Psalm 145:10-13, 17-18
John 1:45-51

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PREJUDICED
“Can anything good come from Nazareth?” —John 1:46

What do you say to someone who is prejudiced? St. Nathanael (Bartholomew) was prejudiced. He judged Jesus to be a “no-good” Nazarene before even meeting the Lord. How do you deal with him?

The apostle St. Philip did not argue with Nathanael but simply invited him to come and see the Lord for himself (Jn 1:46). Prejudiced people need an invitation to meet Jesus. The Lord alone can search, convict, and transform their hearts. Jesus affirms Nathanael and calls him a real Israelite without guile (Jn 1:47). Although he doesn’t deserve the compliment, Nathanael accepts it. His hard heart is beginning to melt (see Ez 36:26). Very shortly, he acknowledges Jesus as Son of God and King of Israel (Jn 1:49). Prejudiced people, and indeed all people, need to receive the invitation to meet Jesus and then receive His unconditional love.



Prayer: Jesus, convict me of my sin. Lead me to repentance and the Sacrament of Confession (see Lk 5:32).

Promise: “The wall of the city had twelve courses of stones as its foundation, on which were written the names of the twelve apostles of the Lamb.” —Rv 21:14

Praise: St. Bartholomew expressed his repentance of prejudice by accepting Jesus’ call to join the ranks of the Twelve, which were composed of some of those he had prejudged.

(For a related teaching on Pride and Faith, listen to, download or order AV 64-1 or V 64 on our website.)

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Rescript: In accord with the "Code of Canon Law", I hereby grant the "Nihil Obstat" ("Permission to Publish") for "One Bread, One Body."

"In accord with the Code of Canon Law, I hereby grant the Nihil Obstat for the publication One Bread, One Body covering the time period August 1, 2026, through September 30, 2026. Reverend Steve J. Angi, Chancellor, Vicar General, Archdiocese of Cincinnati, Cincinnati, Ohio May, 6, 2026"

The Nihil Obstat ("Permission to Publish") is a declaration that a book or pamphlet is considered to be free of doctrinal or moral error. It is not implied that those who have granted the Nihil Obstat agree with the contents, opinions, or statements expressed.

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You can find One Bread, One Body archives, the letter to readers, OBOB eBook edition, and an online donation form at http://www.presentationministries.com/series/obob

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Saturday, August 22, 2026

LOVING JESUS IN HIS CHURCH - One Bread, One Body, 08/23/2026

Sunday, August 23, 2026, 21st Sunday Ordinary Time

Isaiah 22:19-23
Romans 11:33-36
Psalm 138:1-3, 6, 8
Matthew 16:13-20
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LOVING JESUS IN HIS CHURCH
“On this rock I will build My Church.” —Matthew 16:18

Adam, the first man, was in a “deep sleep…While he was asleep, [God] took out one of his ribs…[and] built up into a woman the rib that He had taken from the man” (Gn 2:21). Eve, the beloved bride of Adam, was formed from her husband’s side.

The Church Fathers wrote that the Church was formed from the pierced side of Christ. Like Adam, Jesus was in a “deep sleep” when He expired on the Cross. A soldier’s lance pierced His side and out flowed blood and water, giving birth to the Church (Jn 19:34). Thus, the Church is the beloved bride of Christ, formed from His side. “As Eve was formed from the sleeping Adam’s side, so the Church was born from the pierced heart of Christ hanging dead on the cross” (Catechism of the Catholic Church, 766).

Jesus is the Head of the Church, and we are members of His “Body, the Church” (Col 1:18). As members of the Church, we are the beloved bride of Christ, as close to Jesus as His ribs, as dear to Him as the blood in His Sacred Heart. Thus the divine love of Jesus Christ flows through the Church. It’s not always easy to love the Church, composed as it is of members who are all sinners. If we are unable to love the Church and its members, then we cannot fully love Jesus (see 1 Jn 4:20), Who loves every member of His Church, His Body (1 Cor 12:27). We are His bride, so let’s love those whom the Groom loves.



Prayer: Jesus, help me to live in a manner befitting a member of Your Church (1 Tm 3:15).

Promise: “The jaws of death will not prevail against [the Church].” —Mt 16:18

Praise: Alleluia! Jesus is risen! “O death, where is your victory? O death, where is your sting?” (1 Cor 15:55)

(This teaching was submitted by a member of our editorial team.)

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Rescript: In accord with the "Code of Canon Law", I hereby grant the "Nihil Obstat" ("Permission to Publish") for "One Bread, One Body."

"In accord with the Code of Canon Law, I hereby grant the Nihil Obstat for the publication One Bread, One Body covering the time period August 1, 2026, through September 30, 2026. Reverend Steve J. Angi, Chancellor, Vicar General, Archdiocese of Cincinnati, Cincinnati, Ohio May, 6, 2026"

The Nihil Obstat ("Permission to Publish") is a declaration that a book or pamphlet is considered to be free of doctrinal or moral error. It is not implied that those who have granted the Nihil Obstat agree with the contents, opinions, or statements expressed.

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You can find One Bread, One Body archives, the letter to readers, OBOB eBook edition, and an online donation form at http://www.presentationministries.com/series/obob

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Friday, August 21, 2026

HUMILITY AND REALITY - One Bread, One Body, 08/22/2026

Saturday, August 22, 2026, Queenship of the Blessed Virgin Mary

Ezekiel 43:1-7
Psalm 85:9-14
Matthew 23:1-12

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HUMILITY AND REALITY
“Whoever exalts himself shall be humbled, but whoever humbles himself shall be exalted.” —Matthew 23:12

If we don’t humble ourselves, the Lord will do it for us. We can either start off humbled and end up exalted, or start off exalted and end up humbled. Obviously, it behooves us to humble ourselves now. Yet to do this we must know what humility is.

Humility is not humiliation. True humility is not putting ourselves down but facing reality. The word “humility” derives from the root word meaning “earth.” Humility is being “down-to-earth,” realistic. Reality is that we are “earthen vessels” (2 Cor 4:7). We are weak, but He is strong. We cannot save ourselves, no matter how hard we try (Ps 49:8; Is 26:18). Reality is that we are utterly dependent on Jesus for life and eternal life. Reality is that we can trust our heavenly Father completely. He is perfectly faithful. Reality is that we are temples of the Holy Spirit (1 Cor 6:19). By faith, we can claim power from on high (Lk 24:49).

Therefore, humility is facing the reality that we can’t control our own lives and that we don’t have to provide for ourselves. We can be different from others, even vulnerable, because we have a heavenly Father. We can live simply because God will take care of us. We can live bold, free, and pure because we have a power within us that is from above us: the power of the Spirit. Humility is living in the realities of holiness, simplicity, and “persecutability.” Humble yourself.



Prayer: Father, I decide to humble myself. I ask for the grace to have more simplicity and less timidity.

Promise: “There I saw the glory of the God of Israel coming from the east. I heard a sound like the roaring of many waters, and the earth shone with His glory.” —Ez 43:2

Praise: The Blessed Virgin Mary said, “Let it be done to me” (Lk 1:38). Little did she know that this would include being crowned Queen of Heaven.



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Rescript: In accord with the "Code of Canon Law", I hereby grant the "Nihil Obstat" ("Permission to Publish") for "One Bread, One Body."

"In accord with the Code of Canon Law, I hereby grant the Nihil Obstat for the publication One Bread, One Body covering the time period August 1, 2026, through September 30, 2026. Reverend Steve J. Angi, Chancellor, Vicar General, Archdiocese of Cincinnati, Cincinnati, Ohio May, 6, 2026"

The Nihil Obstat ("Permission to Publish") is a declaration that a book or pamphlet is considered to be free of doctrinal or moral error. It is not implied that those who have granted the Nihil Obstat agree with the contents, opinions, or statements expressed.

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You can find One Bread, One Body archives, the letter to readers, OBOB eBook edition, and an online donation form at http://www.presentationministries.com/series/obob

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Thursday, August 20, 2026

DEAD BONES - One Bread, One Body, 08/21/2026

Friday, August 21, 2026, Pope St. Pius X

Ezekiel 37:1-14
Psalm 107:2-9
Matthew 22:34-40

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Listen to Fr. Al Daily Bread Radio Program

DEAD BONES
“The hand of the Lord came upon me, and He led me out in the Spirit of the Lord and set me in the center of the plain, which was now filled with bones.” —Ezekiel 37:1

The Lord Jesus prophesied to “the church in Sardis...I know the reputation you have of being alive, when in fact you are dead!”  (Rv 3:1) What we call “renewal” is often in need of “resurrection.” We’re not dealing with churches that are old, as much as dead. They’ve been dead a long time but their age is not as significant as their condition. Dead bones are the issue, not dry bones. If we’re dealing with something old, we try to spruce it up, repair it, or modernize it. If we’re facing something dead, it’s a totally different matter. How can dead bones come to life?

The Lord “said to me: Prophesy over these bones, and say to them: Dry bones, hear the word of the Lord!...See! I will bring Spirit into you, that you may come to life” (Ez 37:4-5). The resurrection-ministry, so needed in our churches, begins with prophecy. Possibly this is why we are commanded to seek above all the gift of prophecy (1 Cor 14:1). The word of prophecy commands the dead church to “hear the word of the Lord” (Ez 37:4). “He wills to bring us to birth with a word spoken in truth” (Jas 1:18). “Your rebirth has come...through the living and enduring word of God” (1 Pt 1:23).

Through His Word, the Lord brings the Spirit into us, and an entombed church becomes again the church of Pentecost. Thus the work is not making the old new but making the dead alive. The Lord “said to me: Prophesy to the Spirit...and say to the Spirit:...From the four winds come, O Spirit, and breathe into these slain that they may come to life. I prophesied as He told me, and the Spirit came into them; they came alive” (Ez 37:9-10).



Prayer: Jesus, may some of our readers receive the gift of prophecy in an exceptional way within a week.

Promise: “I will put My Spirit in you.” —Ez 37:14

Praise: Pope St. Pius X, born of humble beginnings, was raised up by God to serve a tumultuous, violent world.



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Rescript: In accord with the "Code of Canon Law", I hereby grant the "Nihil Obstat" ("Permission to Publish") for "One Bread, One Body."

"In accord with the Code of Canon Law, I hereby grant the Nihil Obstat for the publication One Bread, One Body covering the time period August 1, 2026, through September 30, 2026. Reverend Steve J. Angi, Chancellor, Vicar General, Archdiocese of Cincinnati, Cincinnati, Ohio May, 6, 2026"

The Nihil Obstat ("Permission to Publish") is a declaration that a book or pamphlet is considered to be free of doctrinal or moral error. It is not implied that those who have granted the Nihil Obstat agree with the contents, opinions, or statements expressed.

-----------------------------------------------------------------

You can find One Bread, One Body archives, the letter to readers, OBOB eBook edition, and an online donation form at http://www.presentationministries.com/series/obob

-----------------------------------------------------------------

Copyright © Presentation Ministries

To add your e-mail address to this list go to https://www.presentationministries.com/subscribe/email

To remove your e-mail address from this list, click here..