An essay on beauty, culture and the liturgy in the latest Antiphon Journal

I would like to draw your attention to the latest edition of the Antiphon Journal. As usual, all the writers are worth reading, and their names will be recognizable to NLM readers. I mention it particularly this time because of the subject discussed in one article, by Fr Chris Renz, called Liturgical Piety, Awe, and Beauty in a New Liturgical Movement”.

I was excited to get a preview of what Fr Renz has written. In it he discusses the importance of developing an authentic liturgical piety to the evangelization of the culture. He is thinking here of the creation of a Catholic culture in the widest sense of the word, what he calls an 'everyday way of being Catholic'. He explains very well, I think just how powerful an influence the liturgy is on the way we are as people and how this is reflected in what we do. This is a topic close to my heart.

Fr Renz is the Academic Dean and Assistant Professor of Religion and the Arts and Science of Theology at the Dominican School of Philosophy and Theology (the DSPT) at UC Berkeley.

Paschal Candles

Here are some examples of Paschal candles created by Gina Switzer of Columbus, Ohio. Her parish is St Patrick's in Columbus (the Dominican church in the city).

I give you this information for two reasons. First is that if your parish needs a paschal candle you might consider commissioning one from Gina. Her website ginaswitzer.com has details of how to order and the designs that she has done in the past. So far she has six main themes and churches ask for modifications that make it appropriate to their parish. On the Paschal page of the website there is a downloadable catalog that has details. Smaller candels also make good gifts, named candles for baptisms for example.

. I asked Gina about her methods and she told me the following: 'We design and decorate liturgical grade, 51% beeswax Paschal candles. We have designed images that express Christological themes and so they are appropriate for their liturgical use. I create the artwork which is then reproduced onto a thin gelatin film. Metal leaf is applied by hand along with some hand painting directly onto the candle before the gelatin is applied, also by hand, to the candle. Because each candle is custom made to order, our basic designs can be tweaked to fit a particular parishes needs, for example the Dominican cross for a Dominican parish, a celtic border for St. Patrick parish, and so on.'

The other reason for writing about this is that I hope it might inspire other artists to do what Gina is doing. I am regularly asked by priests where they can get hold of Paschal candles as they find the designs in the usual catalogs unsatisfactory. There seems to be a dearth in the market .

Announcing the Sheen Center Catholic Artist Residency in New York City

Cole Matson, Artist-in-Residence, at the Archbishop Fulton J. Sheen Center for Thought and Culture, the Archdiocese of New York's new arts center in downtown Manhattan, recently contacted my to tell me about the residencies that it is offering for early- and mid-career Catholic artists (of all disciplines, including the visual, literary, musical, cinematic, and performing arts). They invite graduating and recently-graduated Catholic arts students to apply.

Artist residents receive two to four months of free housing at the Sheen Center, a partially or fully subsidized work space (depending on artist medium and space availability), plus free invitations and tickets to Sheen Center events when available. There will be at least one showcase of the artist's work at the Sheen Center (depending on artist medium and stated goals).

The residency does not include board, travel expenses, or a stipend. 

Cole tells me: 'The purpose of the residency is to support the development of Catholic artists, as well as to further the Sheen Center's mission of exploring the true, the good, and the beautiful. The residency should culminate in a final public project suitable to the artist's medium and goals, and the artist should expect to contribute to the life of the Sheen Center during his or her residency.'

Catholic artists of all disciplines are invited to apply. Applications are being accepted on a rolling basis, with a limit of 3 artists-in-residence at one time. 

Those interested should apply by email only to Cole Matson at submissions@sheencenter.org. Applicants will be asked to supply a covering letter (no more than two pages) and a statement of intent. The statement of intent should include the number of months requested, how you envision using your time at the Sheen Center, and how this residency will further your artistic goals. He asks that you include in this discussion of the Sheen Center mission, how your faith informs your work, and what benefit this period in New York City would have on your work as an artist right now. In addition you will be asked to supply one to three short samples of your work, or photographs of your work.

For more information, visit: http://sheencenter.org/about/submissions/artist-residency/.

Denis McNamara on Sacred Architecture, Part 10: The Documents of Vatican II

This is the tenth and concluding video of the series. Throughout, Prof. McNamara has been referring to the documents of the Second Vatican Council, but in this he recaps and spells out the directives more clearly. He refers to the desirability of a “pious skepticism” towards innovation, an attitude that is open to change, but generally skeptical of it, and respectful of tradition. I think that this is the frame of mind which produces the “hermeneutic of continuity” that Benedict XVI referred to. Put simply, it says, don’t change anything unless there is a compelling reason to do so.

He then goes on to highlight what the Council did ask for in regard to art and architecture, which on the whole reinforces the principles of the desirability of noble and resplendent beauty. Then, in his understated and polite way, he concludes by saying that nobody should ever think that Vatican II ever meant anything other than what it actually said, just because it came at a time that was “unfriendly,” as he put it, to ornament, image and traditional architecture.

Denis McNamara is on the faculty of the Liturgical Institute, Mundelein; his book is Catholic Church Architecture and the Spirit of the Liturgy.

https://www.youtube.com/watch?v=Rn79r6XumbE  

Denis McNamara on Church Architecture, 9: the church building as an image of the New Jerusalem

In the previous two discussions, about the nature of sacred images appropriate for the liturgy in the church, Denis spoke of how the liturgical art should portray those aspects of the liturgy that are present but invisible to us. This was predominantly the saints and angels in heaven participating in the heavenly liturgy. Now he turns his attention to the church building as a manifestation of the Heavenly City, the New Jerusalem as described in the Book of Revelation. He connects this future ideal with the temple of Solomon as described in the Old Testament and we, the people of the church are the living stones that constitute the Church, transformed symbolically into the idealized stones, the 12 gemstones that are at the gates of the Heavenly City.

Denis McNamara is on the faculty of the Liturgical Institute, Mundelein; his book is Catholic Church Architecture and the Spirit of the Liturgy.

https://www.youtube.com/watch?v=NNvGNdv_dp0

The Pocket Oratory - a stocking filler for every holy season

Nanci Keatley has just sent me photographs of these updated versions of her pocket oratory. They are handmade and are a great portable aid to contemplative prayer as they engage the sight and the imagination and directs our thoughts to heavenly things. I have one and use it daily.

Some will remember my extended essay on the connection between the New Evangelization and the Domestic Church and how the core imagery is chosen specifically to open us up to the supernatural. For those who did not read it the first time you can read it here. The three key images are the suffering Christ, Christ glorified and Our Lady.

Now at any moment you can use this visual aid for prayer and pray the office (if you have your smartphone); or personal prayer (if you don't). When folded they are about three inches by four inches. They fit easily into the inside pocket of a jacket.

 If you are interested in getting hold of one, Nanci's email is fencing_mama@comcast.net

Denis McNamara - on church architecture and the restoration of images.

Here is the eighth in the series of short videos by Denis McNamara, Professor on the faculty of the Liturgical Institute, Mundelein; his book is Catholic Church Architecture and the Spirit of the Liturgy.

This is the second video within the series that focusses on sacred images particularly. In this he argues for a resoration of sacred images in churches which respects a hierarchy of imagery. Describing first the reasons for the iconoclasm of period after Vatican II (with more charity towards those responsible than I could muster) he then indicates some principles by which we can restore imagery so that we don't just repeat the problems that existed before the Council. This means giving the altar greatest prominence followed by authentically liturgical art. This is art that depicts the heavenly liturgy in a form that is appropriate to the high purpose. He acknowledges that there is a place for devotional images in church provided they do not distract from the liturgical function.

https://www.youtube.com/watch?v=CbbArAwwuYU

A Call to Men in Parishes from Cardinal Burke - Join the Holy League

A friend, Tom, in New Hampshire contacted me to tell me that he and another are establishing a Holy League in response to this call from Cardinal Burke.

This intended to create a network of parish based men's groups that meet monthly in a structured Holy Hour. The Holy League was first formed as part of the call to holiness and fortitute that occurred when Europe was under threat from Islamic forces and prior to the battle of Lepanto in 1571. The aim is to reestablish this in every Catholic parish.

The website tells us that the Holy League:

• Provides a Holy Hour format which incorporates: Eucharistic adoration, prayer, short spiritual reflections, the availability of the Sacrament of Confession, Benediction and fraternity;
• Encourages consecration to the Most Sacred Heart of Jesus, the Immaculate Heart of Mary, and the Purest Heart of Joseph;
• Promotes the Precepts and Sacraments of the Church; especially through devotion to the Most Blessed Sacrament and the praying of the Most Holy Rosary;
• Creates a unified front, made up of members of the Church Militant, for spiritual combat.

In addition to this, Tom told me that they intend to sing Compline during this hour as well. This sounds great to me!

You can read more about it here and below see a short description of it by the Cardinal.

https://www.youtube.com/watch?v=pp764vr35wk&feature=youtu.be

Denis McNamara on Church Architecture, part 7 - Sacred Images

Here is the seventh in the series of short videos by Denis McNamara, Professor on the faculty of the Liturgical Institute, Mundelein; his book is Catholic Church Architecture and the Spirit of the Liturgy. As usual, it is an excellent presentation.

In this one he focusses on sacred images. He describes how sacred images are a necessary part of the environment for the worship of God because they manifest those aspects of the liturgy that are present but not ordinarily visible. So they are there to give us a sense of the angels and saints in heaven participating in the heavenly liturgy.

In this video, the stylistic features of art that he describes are those of the iconographic tradition which portrays man fully redeemed. One point that he doesn't address in this short presentation is the how the other authentic liturgical traditions, the gothic and the baroque, fullfill this function. I would argue that they do exactly what the iconographic styles does, but in a subtly different way. They are stylistically different and do not reveal man fully redeemed, but rather justified and at various stages on the path to heaven. But it is by revealing the path they direct our attention, via the imagination, to the destination point of that path, which is our heavenly destiny and so fulfulling their liturgical function. (If you are interested in a fuller discussion of this last point I direct you to section three of my book, the Way of Beauty.)

https://www.youtube.com/watch?v=mxjgAP495-I

New icon, St David of Wales

This is painted in egg tempera on watercolour paper.  I have based it, on another of Aidan Hart's icons of early British saints. He has done a series of similar ones to this, but I don't know if this is his own prototype or if he drew inspiration from another source. Regardless, I love his work and very often look to his corpus first when considering how to approach a subject.

This is in my icon corner at home and I noticed this morning that his right eyelid, the left as you look at it, is drooping slightly. I'll have to modify it.

This is one of the drawbacks of painting for you own prayer, you can be distracted by your own errors! Here is Aidan's: