Pater Anselm Demattio (Kremsmünster) has published his licentiate thesis on Sebastian Krabler, the pastor of Steinerkirchen and head of the Lambach Deanery in Upper Austria from 1573 to 1590. The publication concerns ms. CC 107 of Kremsmünster, dated 1580. See this excellent review.
The thesis gives fascinating insight into the pastoral care of an abbey-incorporated parish in the 16th century, a time of great ecclesiastical confusion. The codex reveals details about liturgy and theology in Krabler's daily life, beyond (far beyond) the standardized diocesan books. Krabler used German for many liturgical services. He had relations with more than one woman and fathered several children. He may have been typical of parish priests at that time and place.
People of the 16th c. were not sure of the boundaries between Catholicism and Protestantism. "Priests who remained Catholic often used their own private collections along with Protestant agendas and the rituals of Passau and Salzburg," writes Demattio (26). 
Most of Kremsmünster's "old," i.e., pre-Josephine parishes, were staffed by secular priests paid by the monastery. That changed in the course of the 17th c., as part of Catholic Reform, when monks were sent to care for the abbey's parishes. But before the 17th c., only a few parishes, especially those in the immediate vicinity of the monastery, were staffed by monks.

... the more they stay the same ...

Above is a hoodie, a common sight on many a street in 2025. Below is a monk wearing a cloak-cowl from the 5th century. It is one example (of many) showing how much monks' clothing influenced modern fashion. Another example is the graduation gown worn at Anglo-American graduation ceremonies: it is derived from the full cowl worn by the monk-professors at medieval universities. 

It is that time of year. Between All Souls' Day and the First Sunday of Advent, the liturgical year focusses on mortality and the Last Things. Classic elements of memento mori paintings seek to remind us of our mortality and the transience of life, encouraging reflection on death and the afterlife. These ideas were particularly popular in Port-Royal, the Cistercian abbey that has often been described as a center of Jansenism. 
This drawing is based on an artwork by Philippe de Champaigne (1602–1674), who fulfilled many commissions for the famous Parisian abbey ... and Cardinal Richelieu. Note the skull, emphasizing human mortality, the clock as a symbol of time and life's brevity, and the wilting flowers, which signify decay and the fleeting nature of beauty and life.