Catholic Sacred Arts

Memorial Day...a time to remember all of the great contributions to our society!

2011-05-29T09:37:00.000-07:00


Veterans Memorial Window at Saint Anthony's Catholic Church, Wilmington, Delaware Photo by author.

The observance of Memorial Day in the United States always reminds me of, The Greatest Generation, namely those that fought and sacrificed many human necessities even their own lives to free the world from dictatorial dominance during World War II. While the United States has participated in many wars from the American Revolution, the Civil War, both World Wars, Korea, Vietnam, the first Gulf War and the current wars in Afghanistan and Iraq, many men and women have answered the call to service and sacrifice through military service. We also need to recall and commemorate the millions of Americans that assisted the war efforts over the years through their skills and talents.


Paula Himmelsbach-Balano sketch of unknown sailor during World War II Courtesy of Karen Price

One individual of particular thought is the artist Paula Himmelsbach-Balano. Paula H.Balano was an artist that provided many levels of service to her community and country during the Second World War in multiple ways. She is most famous for her artistic expertise in the designing, drawing and installation of stained glass in many parishes in the Philadelphia metropolitan area. However, I have recently discovered that she provided a much more simple touch in helping military service personnel through her volunteer work at the Stage Door Canteen during the war…sketching the portraits of soldiers, sailors and Marines while sharing coffee, stories and cigarettes, so they might send these portraits home to their families that waited with great anticipation for any word from their sons and daughters in military service. Paula Himmelsbach-Balano was one of thousands that contributed talents and a compassionate ear to many military personnel l away from home and preparing to fight for the freedom of our American liberties and freedoms.

I have recently had the opportunity to photograph some of the exceptional works of stained glass executed by Paula Himmelsbach-Balano at Saint Anthony’s Church in Wilmington, Delaware. During the churches continued renovations during the period of the Second World War, Paula Himmelsbach-Balano worked diligently to install all of the stained glass panels that adorn the church in Wilmington. In addition to the stained glass windows that depict religious themes, one window sequestered away in hallway pays homage to the members of Saint Anthony’s Parish that served in the American armed forces during the great conflict from 1941-1945. The window is especially poignant because it depicts both young men and older men serving as altar servers. Perhaps the panel is intended to show the transition of maturity of these men from altar boys to men as they returned to Saint Anthony’s Parish after their participation and experiences of war. Maybe the window calls us to keenly remember also the lives disrupted and even sacrificed by war by noting the numbers of those that served and died with encircled stars at the bottom of the panel. Whatever the symbolism, the delicate stained glass window recalls and commemorates the service and sacrifices of the millions of men and women that served our country in many ways, with countless skills and talents to achieve victory and freedom for future generations. I have also been keenly struck by the removal of multiple works by Paula Himmelsbach-Balano from Saint Anthony’s Church in order to insert new examples of stained glass that commemorate the priests that have served as pastors of the parish commissioned new windows. This indeed is a laudable notion and activity. However, in order to celebrate the priestly service of these men, exceptional works of great artistic accomplishment completed by Paula Himmelsbach-Balano were removed and either destroyed or taken away without documentation or any consideration of their historical and artistic importance to the parish, the Diocese of Wilmington or the Catholic artistic community. In a real sense of the phrase, Paula Himmelsbach-Balano’s works make another Memorial Day contribution; they are just like the many men and women that have never returned from battle, MIA or Missing in Action.

While the designation, Missing in Action traditionally refers to those lost during military conflict, I suggest the phrase also applies to the many pieces of representational art that is becoming Missing in Action in our Catholic churches as we face a great period of institutional transition when parishes close, merge or even arbitrarily renovate our sacred spaces without proper consideration for the historical and artistic provenance of what is in place in our churches.

While researching the missing stained glass windows at Saint Anthony’s Catholic Church, I was told they were removed and destroyed because they needed multiple repairs. In photographing the other windows in this church, not one window showed any signs of distress or need of repairs. It strikes me as unfortunate that stained glass windows of superlative artistic and material quality were summarily removed and disguarded in favor of new windows of clerical portraiture lacking artistic quality in both materials and execution could be removed without serious review by professional art experts. Such vandalism of Catholic Church works of art runs rampant as priests make decisions regarding renovations and replacement without the advice and counsel of competent experts in these areas of artistic restoration, renovation, preservation and repairs.

Memorial Day traditionally inspires us to recall our war dead. It also should be a time to remember the men and women of all generations that inspire patriotism to our ideals of a free American Republic. Perhaps as well, there is an opportunity to ignite a particular patriotism and fidelity towards all of the exceptional works of representational art that adorns our Catholic churches. In many ways, the craftsmen, artisans, masons and so on deserve our commemoration and continued attention as we attempt to preserve and memorialize our Catholic artistic heritage into the 21^st century.

Preservation of our sometimes crumbling Catholic art patrimony and restoration of these works should always be one of constant concern to our Catholic community. In addition to preservation and restoration, we should actively consider integration of these examples of our Catholic artistic heritage into new churches, so we can celebrate a seamless integration of our artistic past into our Catholic present and future sites of liturgical worship.

I celebrate Memorial Day and gratefully recall the many men and women that made the ultimate sacrifice of their lives in defense of our American way of life. Additionally, I ask all people of faith to honor our artistic and historical legacies and recall the great men and women that have contributed to our artistic Catholic heritage. We cannot allow their works to go MIA ( Missing in Action) without raising a concentrated call for accountability on the part of our priests and parish administrators. Before any decisions are made to replace any examples of artistic expression…there should be a detailed plan that permits the responsible removal and appraisal of the no longer wanted works of art.

Memorial Day calls us to remember…those that gave their lives in battle. Memorial Day also gives us the opportunity to remember those that gave their lives in artistic expression of our Catholic faith through the use of their great God given talents…for the greater glory of God.

Hugh J.McNichol is a Catholic author and journalist that comments on Catholic topics and issues. Hugh studied both philosophy and theology at Philadelphia’s Saint Charles Borromeo Seminary. He is currently in an advanced theology degree program at Villanova University in suburban Philadelphia. He writes daily at http://verbumcarofactumest.blogspot.com , http://catholicsacredarts.blogspot.com . Hugh writes on his Irish Catholic parochial experiences at http://graysferrygrapevine.blogspot.com.
He also contributes writings to The Irish Catholic, Dublin, British Broadcasting Company, and provides Catholic book reviews for multiple Catholic periodicals and publishers, including Vatican Publishing House.
Hugh lives in Delaware’s Brandywine Valley with his wife and daughter.
Hugh welcomes your comments via hugh.mcnichol@verizon.net.

How to Read Churches...a book to travel with...!

2011-05-16T09:23:00.000-07:00

How to Read Churches: A crash course in ecclesiastical architecture, by Dr. Denis McNamara is an essential resource for anyone that maintains an interest in studying the history of architecture as it applies to Christian churches. The book is essentially an indispensible tool to decipher the nuances of ecclesiastical buildings that provides a wealth of information to the reader on the historical, liturgical and architectural importance each little detail holds as part of the Christian heritage. Covering the history of architecture from the Temple of Solomon right up to the present day of post modern church construction, Dr. McNamara shows through brief explanations and associated illustrations the purpose and usage aspects of all of the fine details contained in ancient, medieval, gothic and modern churches. The book has another great value as well, its size allows the reader to carry the book around as a companion when exploring various churches of Christian denominations while on those vacations that allow exploration of various ecclesiastical sites often included on tours and other pilgrimage excursions. The fine points of historical architecture that cannot be answered by tour guides or docents can be solved by making Dr. McNamara’s pocket book part of every excursion that requires information on architectural and liturgical points of design and function.

Dr.McNamara has published multiple books on Christian architecture. Currently he is assistant director of The Liturgical Institute, University of Saint Mary of the Lake, Mundelein, Ill. The book is published by Rizzoli International Publications, http://risoliusa.com and can be purchased directly from their site. The cost of the book is $17.95, and is an investment well made for the nascent architect, liturgist or historian.

As one that is always interested in understanding the form and function of various parts of church structures, this book provides a synthesized but deeply accurate field source to assist students, and anyone interested in learning more about the way Christian churches have evolved and the symbolism that is active from ancient times to our contemporary age. Make this book part of your required resources; it will become a faithful, dog-eared companion that enriches architectural explorations for many years.

Hugh J.McNichol is a Catholic author and journalist that comments on Catholic topics and issues. Hugh studied both philosophy and theology at Philadelphia's Saint Charles Borromeo Seminary. He is currently in an advanced theology degree program at Villanova University in suburban Philadelphia. He writes daily at http://verbumcarofactumest.blogspot.com , http://catholicsacredarts.blogspot.com . Hugh writes on his Irish Catholic parochial experiences at http://graysferrygrapevine.blogspot.com.
He also contributes writings to The Irish Catholic, Dublin, British Broadcasting Company, and provides Catholic book reviews for multiple Catholic periodicals and publishers, including Vatican Publishing House.
Hugh lives in Delaware's Brandywine Valley with his wife and daughter.
Hugh welcomes your comments via hugh.mcnichol@verizon.net.

2011-04-23T17:37:00.001-07:00

Good Friday...makes me shiver!

2011-04-22T06:44:00.001-07:00

2011-04-22T06:08:00.001-07:00

The Chill of Good Friday!

The quietness of the sacred space echoes faint, "Hosannas", and loud shouts of, "Crucify Him."Here in the parish Church ,in the shouting silence of the empty space, We Catholics begin to feel Jesus suffering and death. That is because we participate in His death through our own initiation at Baptism. Our common Baptism unites all of us and permits us to share in Jesus' Eucharistic sacrifice.

Good Friday does not mark the end for Jesus, nor for us…rather it a sign of hopeful expectation. That expectation transcends the historical and harsh reality of Jesus' crucifixion and death. The expectation is felt in Jesus' complete submission to the will of the Father, and the subsequent Father's power that raises Jesus from the dead. Most Catholics don't usually think of death as an expectant resurrection. Most Catholics separate Jesus' total dependence on the will of the Father from His suffering and death. Most Catholics forget to recall it is the Father that raises Jesus from the dead. We are too lost to think of these aspects of redemption. Too surrounded by the cold darkness of the power of evil. Too overcome with the physical death of Jesus. We don't like to think of a Church without a Eucharistic presence, without light and joy.

However as Catholics we need to focus on not just Jesus' death, but His impending resurrection. The impending resurrection is the theological extension of Jesus' faith in the Father. He suffers the Cross, because He believes in the Father's love. We too need to recognize the same in Jesus. We share in the mystery of Jesus' death because we are faithful of resurrection. The harsh reality of death undergoes a transformation in perspective when there is a belief in the resurrection.

God's love and power transforms the cross from a symbol of shame and death, into a true realization and expectation of new life. Jesus knows this. He trusts in the Father. The Father exhibits faithfulness to His Son and raises Jesus from the cold and empty tomb. It is only after I think of the cold reality of Good Friday am I able to sense the Father's incredible warmth and power. That's what makes us believers in faith. We know that we will not be abandoned in the solitude of death, but will participate in the Paschal glory of the warmth of the Resurrection.

When I remember that the Good Friday story has another lesson to communicate, is it possible to understand that my parish Church will be transformed on Easter Sunday morning. The liturgical reenactment of Jesus' passion is the beginning of the story, not the end. As believers, we have hope in God's power. We anticipate God's resurrection of Jesus on Easter Sunday. When we realize this, shivering stops and I am acutely aware that there is life and warmth in the Resurrection, for Jesus, for us all.

2011-04-21T06:30:00.001-07:00

2011-04-21T06:29:00.001-07:00

2011-04-21T06:21:00.001-07:00

Ash Wednesday!

2011-03-09T11:38:00.000-08:00

Latin, the Queen of the Sacred Arts.

2010-11-30T06:26:00.000-08:00

The story of Latin and its use in the Church is of course a remarkable tale. Just as remarkable is the story of Father Reginald Foster and his love for the Church, the Latin language and sharing his expertise. Of course, Father Foster has immense patience with his students and their Latin difficulties. However, I am sure if I were in his Latin class, his patience would wear thin. If you need to confirm this notion, just ask Msgr. "Mumbles" McBride, Professor Emeritus of Latin at Saint Charles Borromeo Seminary. My Germanic pronunciation of Cicero, contributed to his gray hair and receding hairline.

The Art of Stained Glass....Ascension of Our Lord Parish!

2010-11-27T08:36:00.000-08:00

Stained glass has always provided a colorful source of instructional material for Catholics since the Middle Ages. The greatest cathedrals of Europe often boasted “walls” of stained glass, intended to convey the stories of both the Old and New Testaments, especially the life of Christ. During this period, it was not uncommon for most Catholics to lack literacy, so stained glass was the proverbial “I Pad” of the ancient and medieval Catholic Church.
The Archdiocese of Philadelphia has been fortunate to experience talented individuals in the artistic world that have helped us adorn our Catholic Churches with magnificent examples of the stained glass trade. One particular church, Ascension of Our Lord, has stained glass depictions of the life of Jesus that were executed by Paula Himmelsbach-Balano(1877-1967). Paula Himmelsbach-Balano is often considered the “First-Lady” of Philadelphia stained glass.She was the first female to operate a stained glas studio in the United States that oversaw operations from design to installation. She operated her studio at 22 & Spring Garden Streets until the Great Depression, and then moved to Germantown until her death.
The use of color in the windows at Ascension of Our Lord Church is the most remarkable feature one first experiences when viewing them. The windows are rich, vibrant hues of blues and reds that remarkably change appearance as the sun moves throughout the church at various parts of the day.
Thematically, the most important scriptural events in the life of Jesus Christ are portrayed in these great multicolored, multifaceted panes of glass. The events of the Annunciation, The Visitation, The Birth of Our Lord, and The Finding of the Child Jesus in the Temple, The Crucifixion, the Resurrection & the Ascension are the primary themes throughout the church.
The stained glass windows at Ascension of Our Lord Church are superlative examples of art that is used by the Church in order to teach and explain principles of our faith, in addition to being decorative in their nature. The windows tell the story of Jesus’ life, death, resurrection and ascension in a manner similar to the Church’s cycles of Gospel readings throughout the liturgical year. They provide a visual feast for the prayerful Catholic as they participate in the Sacred Liturgies and give glory to God through the expression of the hands of a human artist.
Sources of inspiration, meditation and contemplation, stained glass windows in our Catholic Churches reflect the long symbiotic relationship the Catholic Church has had and continues to have with sacred art and artists. Thankfully, the work of Paula Himmelsbach-Balano remains as a visceral and beautifully visible example of how the sacred arts in our Catholic Churches helps us to more deeply worship the Mysteries of God and celebrate the great mysteries of faith God has imparted to us as Catholic believers.
The stained glass at Ascension of Our Lord Church is just one of two remaining sets of her work in place in the Archdiocese of Philadelphia. The other set is at Saint Agnes Church in West Chester. A pilgrimage to either church or both is worth the trip and the great experience of transcendence stained glass brings us in our Catholic faith.

Come Lord Jesus!

2010-11-27T06:46:00.001-08:00

Opportunity for Philadelphia to honor John Neumann & Katharine Drexel...Philadelphia Citizens.

2010-09-13T06:19:00.005-07:00

Last week the Historical Commission of the City of Philadelphia voted to permit demolition of the former Assumption Parish on Spring Garden Street. Seemingly this is the end of a long struggle to preserve the historically significant structure that has languished for many years waiting for the final rendering to come. There are many levels of culpability and many individual groups and individuals that have contributed to the demise of this architecturally significant piece of Philadelphia’s long legacy. My point is not to lay blame or to indicate what could have been, should have been or might have been in regards to the proper administration of the former parish.

The facts concerning Assumption are simple and clear. The parish holds historical significance for the people of Philadelphia because of two individuals that were part of the life of the historical parish of the 19^th and 20^th centuries; John Neumann and Katharine Drexel. As Bishop of Philadelphia, John Neumann assisted in the solemn consecration of the newly constructed church. As a newborn child, Katharine Drexel was baptized at the church, entering the Catholic faith destined for a life in excess of ninety years. Remarkably, if not for the events that happened in the years after both Neumann’s and Drexel’s common association with Assumption Church, the events would have disappeared into history.

We know however, that the lives of these two Philadelphians, one a priest and bishop, the other an heiress to a large financial legacy and later the foundress of a community of sisters would transform life for not only Philadelphia, but individuals throughout the world.

Bishop Neumann, as Bishop of Philadelphia, deserves recognition not just because he participated in the consecration of Assumption Church, but because he was one of the most influential Philadelphians of the 19^th century. His pastoral initiatives encompassed the entire State of Pennsylvania, Delaware and Southern New Jersey. He was the principle driving force behind the foundation of the Catholic educational system in Philadelphia and subsequently the entire United States. He worked as a priest and bishop to zealously unite the multicultural tapestry of 19^th century Philadelphia into a cohesive city that lived up to the ideals of Penn’s vision of a City of Brotherly Love.

Katharine Drexel as a citizen of Philadelphia nurtured a vision of charity that extended to peoples of all races, especially African-American and Native American peoples. Coupled with her love of the Catholic Eucharist, a perspective on the unity of all peoples, courage in addressing social inequities among minorities and total distribution of her personal inheritance to victims of poverty and racial injustices; Katharine Drexel’s legacy straddles the 19^th & 20^th centuries in Philadelphia and the entire United States.

The period of Katharine Drexel’s life was one that witnessed an incredible amount of racial inequality between African Americans and Caucasian peoples. In Philadelphia, Katharine Drexel provided the bedrock foundation of the American Civil Rights Movement, long before Dr. Martin Luther King Jr., had a dream of racial equality in America. Mother Katharine Drexel established a religious community of sisters that exclusively ministered to the needs of what was then called, Black and Indian Peoples.

Over the course of her lifetime the Sisters of the Most Blessed Sacrament distributed more than 39 million dollars to the needs of African Americans and Native Americans in order to insure that these minorities were properly educated and received proper care and nutrition.

Both Bishop Neumann & Mother Katharine Drexel have been the victims of recognition and oversight on the part of the Philadelphia Historical Society in relationship to their participation in the life of Assumption Parish on Spring Garden Street.

The purpose of historical preservation is to preserve, restore and conserve significant places in Philadelphia not simply because of their architectural importance. The mission of the Philadelphia Historical Commission is to accomplish these points because a historical person or event took place at or in the place that has received a historical designation from the commission.

In addition to the exceptional architectural heritage with the connection to the prolific ecclesiastical architect of the period, Patrick Charles Keely; the Church provides the historical structure for two of the most significant citizens of Philadelphia’s life and history since Benjamin Franklin.

The City of Philadelphia has been especially generous in honoring Benjamin Franklin. The Benjamin Franklin Parkway, the Franklin Institute, the Benjamin Franklin Bridge and so on. However, there are no streets, parks or sites named to commemorate the lives and accomplishments of Saints John Neumann and Katharine Drexel.

The most significant acknowledgement of both Neumann & Drexel is of course the Catholic Church’s elevation of both of these exceptional individuals to the altars and designations of Sainthood. However, both Neumann & Drexel deserve recognition from a civil perspective in recognition of their lives and accomplishments in making Philadelphia a city of racial and religious tolerance in the 19^th & 20^th centuries.

Most notably, the battle to preserve Assumption Parish on Spring Garden Street is now lost. The shifting demographics of Catholics in addition to other factors contributed to its elongated process of death. However, Philadelphia Catholics and quite frankly all Philadelphians need to learn a lesson from this parish and the need to preserve our historical treasures that transcend points of architectural significance but point to a significance of the promotion of religious and ethnic harmony between peoples of all races, creeds and colors.

The Philadelphia Historical Committee needs to step back after this insensitive oversight against not only Philadelphia’s Catholics, but all Philadelphians of good will and recognize Saints John Neumann & Katharine Drexel with a park, a street and yes perhaps even statues on the illustrious Benjamin Franklin Parkway, not because they were and are Catholic Saints, but because they were illustrious Philadelphians that transformed Philadelphia and the world towards peace, harmony and racial tolerance.

The Sisters Cities Plaza that is directly in front of the Cathedral-Basilica of Saints Peter and Paul would especially benefit from a new designation in honor of Bishop Neumann & Katharine Drexel. Without diminishing the importance of “Sister Cities”, both Neumann & Drexel as Philadelphia Catholics participated in events at the Cathedral-Basilica of Saints Peter and Paul. What an appropriate place to honor and recognize their contributions than the development of a commemorative park dedicated to the principles of religious and racial tolerance for all peoples of Philadelphia and the nation.

Opportunity for Philadelphia to honor John Neumann & Katharine Drexel...Philadelphia Citizens.

2010-09-13T06:19:00.001-07:00

Recalling the Dedication of the Cathedral of Saints Peter & Paul in Philadelphia!

2010-06-29T10:57:00.000-07:00

Cathedral of Saints Peter & Paul 1865

In 1854 the Cathedral of Saints Peter & Paul in Philadelphia was dedicated by Archbishop Wood on this date.
Initiated by Bishop Kenrick, the project of building the Cathedral lasted over his years of leadership, the tenure of Bishop Neumann and finally completed under Bishop (later Archbishop) Wood. During the years of construction, the faithful Catholics in Philadelphia survived the tragic events of anti-Catholic persecutions and even the burning of Catholic Churches during the Know-Nothing Riots. Despite the pervasive anti-Catholic sentiments the project of constructing the Cathedral continued.

A visitor to the Cathedral-Basilica of Saints Peter & Paul today doesn't always realize that the cathedral was built without lower-level stained glass. The only stained glass windows in the cathedral are strategically placed in a high location, so that angry mobs of anti-Catholics could not throw bricks through the windows and potentially torch the edifice during the turbulent events of the mid-1800's. It has even been said, that when planning the placement of the highly elevated stained glass windows, Bishop Neumann held a brick throwing contest in order to determine the greatest height a burly Irish bricklayer could hurl a brick. After that determination, the windows were then placed ten feet higher, just to be sure. While I have not been able to find documentary evidence of this brick-throwing contest, it lends a particular twist to the epic story that accompanies the construction of the Cathedral of Saints Peter and Paul. I will continue the research however, just to validate or dispel the story. Regardless of the authenticity, it indicates the great determination Catholics in Philadelphia had in building their, "Mother Church!"

Over the years, I have paid many visits to the Cathedral-Basilica of Saints Peter & Paul for many spectacular events such as the Eucharistic Congress in 1976, the visit of John-Paul II in 1979 or the many ordinations of fellow seminarians to the Priesthood or Episcopate. All of these visits and events have always left me with a spiritual awe over the historical and spiritual significance that continues to transcend the years at this magnificent Cathedral, the beating heart of the Archdiocese of Philadelphia.

Philadelphia Catholics should make a particular point to visit the Cathedral. It is their spiritual home and the central point of spirituality for their Catholic faith that is guided by the Archbishop of Philadelphia, Justin Cardinal Rigali. The Cathedral stands for the greatest appreciation and implementation of the principles of celebration we hold as sacred as Catholics. The liturgical celebrations at the cathedral, with the Cardinal-Archbishop of Philadelphia fully elaborate on the age old principle the Church holds in the highest esteem, "Lex Orandi! Lex Credendi! TheChurch prays as the Church believes! Philadelphia Catholics should be thankful that the highest attention to the details of the Sacred Liturgy are observed in their Cathedral. It shows very clearly that Cardinal Rigali is committed to the proper celebration of our Catholic liturgy and promotes a devotion towards Catholic art and architecture that is not always known outside of the Archdiocese of Philadelphia.

While the Cathedral-Basilica has undergone many renovations since the consecration by Archbishop Wood, one thing remains constant; it is the place of the cathedra, or chair of the Archbishop of Philadelphia. It is from this location, that the spiritual growth and sacramental life of the Church of Philadelphia flows. A Cathedral, is not only the place the local bishop calls home, it is also the place from where the Eucharistic Mystery is celebrated by the bishop as the Shepard of His Diocese.

The commemoration of the dedication of the Cathedral-Basilica of Saints Peter & Paul has been moved liturgically to June 30, so not to diminish the Solemnity of Saints Peter & Paul assigned by the Roman Calendar to June 29. Regardless of the day, Philadelphia Catholics should celebrate both days as festivities in their cathedral that symbolize the co-patrons of the Archdiocese, Saints Peter & Paul, the magnificent edifice of our Cathedral-Basilica and the filial obedience and fidelity the Catholic Church in Philadelphia gives freely to the Holy See.

The Cathedral-Basilica of Saints Peter & Paul is celebrating its 146 anniversary of dedication this year. Don't forget to remember kindly, the temporal requirements needed to preserve and maintain the oldest building on the Benjamin Franklin Parkway. The Cathedral-Basilica has been the spiritual home of Philadelphia Catholics from the middle of the nineteenth century, help financially to keep it well into the twenty-first century of Catholic life in the City of Brotherly Love.

Before I forget, many thanks to the kind staff of the Archdiocese of Philadelphia's Historical Research Center located at Saint Charles Borromeo Seminary, in the underworld of Saint Martins Chapel. They provided the photograph of the Cathedral in 1856, which according to them is the oldest photo of the Cathedral in their historical collection. The photo is reproduced and published with their permission as well.

A Living Presence...Catholic Sacred Art & Architecture!

2010-05-04T07:05:00.001-07:00

Detail of mosaic of Christ in Majesty, National Shrine of Immaculate Conception, Washington, D.C.

Last week I had the opportunity to attend a symposium at Catholic University in Washington, D.C. that focused on the critical importance architecture plays in the developmental process of planning and building our most sacred spaces…Catholic Churches. The theme of the event was: A Living Presence: Extending and Transforming the Tradition of Catholic Sacred Architecture. Jointly, the architectural design departments of Notre Dame University and Catholic University planned and presented this two days event, that called much needed attention to the role architecture and vocational artists have in the important mission of the Catholic Church.
One of the most striking points noticed during the convocation was the considerable amount of professional enthusiasm and professional dedication all of the presenters and participants exhibited during the symposium. In such a gathering, that united academia with pragmatic examples of artistic and architectural realities, it was visibly evident that the future success of Catholic Sacred Art and Architecture is on the right path and is poised for remarkable success’ with the designs and plans of inspiring Catholic artists and architects. The symposium itself consisted of the usual presentation of academic papers and subsequent discussions. Uniquely, however, the dedication and devotion of the Catholic faith was apparent in all of the presenter’s attitudes and ideas that envision future designs to enhance our Catholic celebration of the Sacraments.
Importantly, the symposium presented multiple points of view. Traditional Catholic architecture was allowed to co mingle with modern Catholic architecture, and every point of design in between was allowed to participate. The use of the terms, “traditional” versus “modern” does not always allow for a friendly dialogue between parties. However, the artisans and architects present at this gathering uniquely appreciated the fact that the Sacred Mysteries of the Catholic faith joined them together in an artistic and architectural symbiosis that transcended mundane schools of architectural thought.
Most evident at the entire symposium was the overall consensus that the design and building of Catholic Churches should focus on the concept of the Mystical Body of Christ, of which we are all a part. With the theme of, The Architecture of the Mystical Body, Dr. Steven Schloeder illustrated the many points of architecture that converge in the Catholic Church with the understanding and appreciation of the anatomy of the human body. In developing an understanding and a deeper appreciation of the analogy of the human body, as related to the Body of the Church and the Mystical Body of Christ, art and architecture for the Catholic believer transcends the temporal limitations of human understanding and participates in the eternal mystery of God’s existence. In appreciating such a lofty integration of liturgical theology, it becomes apparent that the role of the vocational artist and the vocational architect is one of the greatest spiritual and temporal obligations that reflects the living faith of the Catholic Church.
In all of the discussions with various presenters during the event, it was very apparent that in the post-Vatican II era of artistic interpretation the modern Catholic has lost a significant appreciation of both signs and symbols that manifest themselves through our sacred liturgies and devotional faith. Clearly, the conclave of vocational artists and architects in Washington, D.C. last week shows a true concern for the revival of appropriate Catholic architectural norms that enhance our spiritual experiences while at the same time giving glory to our eternal and transcendent God.
The symposium offered at Catholic University last week shows there is a need for a developing dialogue between Church and artisan on a continued and regular basis. From a historical perspective, the role of the artist, and the architect is pivotal to the foundational expressions of Catholic ritual and faith through the construction and design of our Catholic Churches, our most sacred spaces, where the Incarnational Mystery of God, Made Man, intersects with our temporal attempt to provide a suitable place in which Catholic can justifiably celebrate and worship God’s glory, beauty and majesty. The symposium also indicated for me, the author, that there is a remarkable need for education and catechesis of the Catholic faithful as a whole regarding the critically necessary inclusion of qualitative art and architecture into the Catholic worshipping environment.
Perhaps, since we have had the luxury of time and experiences since the liturgical changes of the Second Vatican Council, those entrusted with the development of the faith in our most essential Catholic parishes, can appreciate the vast artistic and architectural heritages the Catholic Church endorses and makes visible through the celebration of it’s most holy and sacred rites. With the development and appreciation of the collective historical and social understanding of the Church’s artistic and architectural memory, pastors and faithful alike will realize and understand there is indeed room and opportunity for multiple examples of the artistic and architectural differences to co-reside and co- exist as expressions of our transcendent faith and our attempts to humanly unite with our Deity through art and architecture.

The theme of the symposium, A Living Presence best indicates the organic continuity architects and artisans offer the living Church. Through the adaptation of practical norms of architectural quality and integrity, the vocational artist and architect presents a living structure for the Church’s worship, that in our human inadequacy give glory and praise to the real Living Presence of Christ that is the central focus and presence in our Catholic Churches and our hearts as faithful Catholics attempt to bring, A Living Presence of Christ to a world that seeks Jesus primarily in our places of sacred worship, our Catholic Churches. The edifices that most visibly offer, A Living Presence are indeed the works of inspired artisans and architects. They stand as the sacred gateways towards a deepening relationship of faith, through our signs and symbols of Catholic art and architecture and ultimately a structural living presence that leads faithful believers to the ultimate Living Presence, Christ Jesus.

Christ of Holy Saturday!

2010-04-27T11:19:00.001-07:00

This article is reprinted from the April 15, 2010 edition of the Catholic Standard & Times, the newspaper for the Archdiocese of Philadelphia. I requested an electronic .jpeg of the article, however the Standard was unwilling to provide one. So, in order for you to read the article, I am posting it to my site, http://catholicsacredarts.blogspot.com

I understand the Catholic Standard & Times will have an electronic format mid summer. Until then, I will just publish my articles here as they appear once a month in the Standard & Times.

When we attend Mass at our local parishes in Philadelphia, we are surrounded by many examples of sacred art and architectural features that help us in our prayerful pursuit of the Catholic spiritual life. Sacred art is intended to help us in our spiritual journey and provide us inspiration as we journey along in our everyday lives, trying to become more deeply immersed in our relationship with God. A great example of sacred art that helps us focus our prayer intentions is located at Saint Rita’s Church, Broad and Ellsworth Streets in Philadelphia.

The piece, “Christ of Holy Saturday,” by Philadelphia artist, Anthony Visco (www.anthonyvisco.org ) is the first thing you notice when you enter the lower chapel at Saint Rita’s. Struck in bronze, the full figured relief depicts the crucified Lord, lying on his burial shroud in anticipation of future resurrection on Easter.

Christ, in the tomb after the horrendous events of the crucifixion presents a very tranquil Jesus, hands crossed, with the wounds of the cross visible to all believers. Christ’s face slightly tilted with partially closed eyes gives us a hint that His repose is just temporary, waiting to be raised by the Father in glory.

The beautiful representation of Christ in repose shows us in a starkly mute fashion that we as Catholic believers are called to share in the Passion of Jesus through the Sacraments of Catholic Initiation. In Baptism, we too, die with Christ and are reborn through water and the Holy Spirit into a new life with God. At Saint Rita’s Church, the close location of a holy water font, placed strategically placed in front of the crucified Jesus Christ offers a powerful symbol of hope every time we immerse our hands into the water, recall our sacramental death and rebirth in Baptism. Jesus portrayed at death keenly illustrates for us there is new life through the Sacraments of the Church.

The placement of “Christ of Holy Saturday,” is a masterful representation of the image of Christ envisioned by Saint Rita of Cascia, in which the image came to her in a vision during a period of prayer. The vision of Saint Rita, reproduced for all of us is one that draws us more deeply into an appreciation of the death and ultimate Resurrection of Jesus, which follows the solitary period of Holy Saturday in the tomb.

Most significantly the artistic bronze prepares us for a celebration of the Holy Eucharist, in the chapel on the other end of the chapel. There daily Mass is celebrated and the Blessed Sacrament is exposed for Eucharistic Adoration on a daily basis. In placing the deeply moving representation of Christ’s death at the entrance to the chapel at Saint Rita’s Church, the faithful Catholic makes a sacramental journey from the font to the Eucharistic celebration, the ultimate indication that Jesus’ suffering and death was the transition to a resurrection to new life.

During our observance of Lent, each of us needs to keep the journey and the ultimate destination in mind, namely the joy of Easter, when Christ overcame suffering and death.

Sacred art invites us to travel on a personal and community spiritual journey with faith. At Saint Rita’s Parish in South Philadelphia( www.stritashrine.org ), the artistic journey begins at the entrance to the chapel and leads us to the Eucharistic liturgy.

Throughout the entire Archdiocese of Philadelphia there are numerous examples of qualitative sacred art that assists us in our pilgrimage of faith. Make it a point to visit, “Christ of Holy Saturday,” at Saint Rita’s. At the same time, make it a point to look around your own parish church for good examples of sacred art that will help deepen your prayerful Catholic spirituality.

Testament

2010-04-23T10:06:00.000-07:00

Recently, I have had the great pleasure to review the DVD series, Testament, prior to the May 25th release of the DVD collection. If you have ever wondered about the state of biblical archeology in the 21st century, like I often do, this series is one you must own.
Dr. John Romer, one of the best known archaeologists is the field of biblical archeology takes the viewer on a magnificent journey to the foundational roots of the Bible. The series is filmed on location in most of the ancient sites of biblical events, including Jericho, Jerusalem & Egypt. Most questions that are normally asked about the origins of the Bible are logically and methodically explored in great detail by Dr. Romer. In addition to tracing the great historical roots of the Old and New Testaments the series carefully and sensitively examines the spiritual developments of the great religions of Christianity and Judaism by actually visiting the sites of their greatest accomplishments and achievements.
In addition to visiting the ancient sites, the host quite easily takes the viewer through a lesson in biblical archeology that is vibrant and relevant to an inquisitive world in 2010 looking for answers to their faith. Stories ranging from the Garden of Eden, to the Flood of Noah and the events of the Hebrew Exodus are all covered extensively by Dr. Romer as he quite happily wanders through the ancient world and holy sites for both Christians and Jewish believers alike.
While most people do not immediately pick biblical archeology as the first DVD series they might choose to explore, this DVD series is indispensable to any collection for students of all faiths, seeking to understand the world’s religious roots. If indeed anyone has ever read through the Bible, and had some questions regarding the origins of the theological stories, this series provides answers in a professional and academic manner, while remaining sensitive to the biblical theology.
May 25, 2010 is the release date for the series on DVD. The series was originally broadcast on Discovery Channel in 1988. It is available for preorder at Acorn Media Group. Their website is http://acornonline.com . The price of the collection is $59.99

Embrace the Catholic Sacred Arts!

2010-04-09T07:23:00.000-07:00

Our Lady of the Word by Paul M.Whittle

Catholics in areas of the United States are always reading about parishes and Catholic facilities either closing or merging due to the shifting demographics of the Catholic population in the country. One of the fortunate side effects of this parish consolidation is the opportunity to rid ourselves of quite frankly “bad” Catholic art that has cluttered our Catholic Churches. While there are scores of examples of poorly executed pieces of art that has made its way into our Catholic sacred spaces, there are many talented and capable artists and artisans that labor to introduce their quality art on a regular basis.

The Second Vatican Council made it especially clear that artisans were extremely important in the design and furnishing of materials intended for our most sacred places. Subsequent Popes since Paul VI, including Benedict XVI have made the restoration of quality art as an important mission of the Church as it plans its liturgical structures. Last year, Benedict XVI even had a conclave of artists at the Sistine Chapel to illustrate the critical importance their talents and artistic inspirations are to the life of the living and worshiping Catholic community.

Unfortunately, however, the planning and design of Catholic parishes does not always make considerations for the inclusion of original and qualitative art into the liturgical design of a new parish church. In most cases, architects are enlisted to provide the plans for the Catholic parish, but they have little understanding of the ritual and sacramental form and functions required of the new building. In addition to this oversight, architects and liturgical designers are drawn to,” over the counter,” statuary and, “catalog,” ordered artistic accessories that are mass produced and found in Catholic Churches in some variation all over the United States.

The Catholic Church historically has always been one of the strongest patron and supporter of artists and their respective crafts. Unfortunately, since the rise of the Industrial Revolution with the ability to mass produce articles, the Church has been caught in the machinery of, “off the shelf,” ordering of sacred art and liturgical accessories. The significance and magnificence of the ceiling of the Sistine Chapel is simply this: It is a one of a kind work of art! Appreciation of original commissions of liturgical art is something that needs a boost of confidence in the United States as we redesign and redistribute our parishes into new geographical distributions of the Catholic faithful.

Artist Paul Whittle at work on Our Lady of the Word

There are examples in every location in the United States of qualitative artists working in their uniquely vocational field of liturgical arts. In the Philadelphia metropolitan area, one artist of particular note is Paul M. Whittle. Mr. Whittle attended and graduated from the Pennsylvania Academy of Fine Arts in 1995 with a BFA degree. He has also received the Perkins Scholarship for the, “Visual Arts” for six consecutive years.

A particular project that Mr. Whittle has completed and installed is, Our Lady of the Word at Saint Aloysius Church in the Diocese of Trenton. If your parish is considering adding a new piece of Catholic art, they should consider Mr. Whittle. He can be contacted at paulmatthewwhittle@gmail.com

His work is an example of superlative artistry, available to Catholic parishes throughout the United States. Catholics from all walks of life, clergy and hierarchy and local parishioners should really seek out artisans like Mr. Whittle when building or redesigning their local parish churches and not settle for over the counter art when an original piece of art is readily available.

While the migration of Catholic parishioners continues to change and evolve, we have the chance to artistically accentuate our new Catholic parishes with works of artistic quality that are befitting our worship of Almighty God.

Catholic Sacred Arts are indeed alive and well in the United States. As a faithful community of Catholic believers, we need to cultivate the patronage of these talented artisans and include their artistic interpretations of Catholic images as part of the evolution of Catholicism in the United States.

The Catholic Church in the United States is no longer an immigrant church, one that needs to rely on importation of statuary from foreign countries. We are a vibrant and living People of God that includes many talented vocational Catholic artists in our own parish communities. We have an opportunity to utilize their God given talents that are reflective of a Catholic Church in the 21^st century, living and growing in faith and love and hope.

Hugh J.McNichol is a Catholic author and journalist writing on Catholic topics and issues. He attended Saint Charles Borromeo Seminary in Philadelphia, where he studied both philosophy and theology. He writes frequently at http://verbumcarofactumest.blogspot.com & http://nothing-left-unsaid.blogspot.com . Hugh writes about his Irish Catholic upbringing and educational experiences at http://graysferrygrapevine.blogspot.com . He has contributed works to Catholic News Agency, Catholic Online, The Irish Catholic, Dublin, the British Broadcasting Company, London and the Philadelphia Bulletin, Catholic Exchange, Pewsitter.com, Blogger News Network & The Catholic Business Journal,CatholicMom.com. & Catholic.net Comments are always welcome at hjmn4566@gmail.com

Extending and Transforming the Tradition of Catholic Architecture

2010-04-07T05:17:00.000-07:00

The School of Architecture and Planning at Catholic University in Washington is having a symposium from April 30th through May 1st. The theme for the symposium is Extending and Transforming the Tradition of Catholic Architecture.
There are many individual artists and architects involved with the planning and designing of new Catholic Churches in the United States and this upcoming symposium offers an opportunity to experience the trends that are evolving within the professional architectural community and the Catholic artisan communities that will effect the designs of future Catholic Churches.
While the School of Architecture and Planning at Catholic University does not exclusively design for future Catholic places of liturgical worship, the attention it is focusing on the topic is long overdue. For over forty years since the end of the Second Vatican Council, most of the Catholic Churches in the United States were a hybrid design that included space for the Sacred Liturgy and a place for other pastoral activities. For the most part, they did not reflect the large temples of worship America experienced in the 19th and 20th centuries of building churches exclusively designed for the Catholic Sacred liturgy.
However, in recent years the trend is moving once again towards the use of Catholic Churches exclusively for the celebrations of the Sacred Liturgies. What this means is that there is a Catholic renewal of art and architecture that is sweeping the parish communities in the United States when they plan and implement the designs for a new parish church.
Once again, the uniquely Catholic requirements for effective celebrations of the Holy Mass are the most important requirements of the new church design, coupled with the use of modern materials and ecologically sensitive configurations intended to enhance the church worshiping space as one devoted to the praise of God...exclusively.
In some cases, the merger and closure of parish communities in the United States has allowed the development of a mega cottage industry that reuses and recycles items from closed parishes such as stained glass and marble altars. In an attempt to incorporate materials of the highest artistic quality from the 19th and 20th centuries, the new Catholic Churches built in the United States pay homage to the spiritual and temporal sensitivities of their spiritual forefathers. Also with the building of new churches there is an opportunity for new artists and artisans to have an opportunity to provide new visions of Catholic saints and liturgical accessories that are befitting a place in a sacred and transcendent Catholic worshiping community.
While the symposium is hosted by the School of Architecture and Planning, the keynote speaker for the event is His Eminence Justin Cardinal Rigali, Archbishop of Philadelphia. Cardinal Rigali in his own Archdiocese of Philadelphia has been a strong supporter of the restoration of traditional Catholic Church designs for his parishes. During his tenure, His Eminence has even restored the traditional Altar of the Blessed Sacrament to the main body of the Cathedral Basilica of Saints Peter and Paul, an example followed to all of the parishes in his Archdiocese.
Keenly aware of the need for a renewal of the sense of the sacred in our Catholic spirituality, Cardinal Rigali has made the pursuit of spiritual renewal as a pastoral priority for Philadelphia and also for the National Shrine in Washington, D.C. Cardinal Rigali is a member of the National Shrine's Board of Directors and Artistic Advisory Board. With the backing of such a prominent American Cardinal, the great renewal of Catholic architectural traditions, extending into the 21st century, the symposium has the potential to provide resounding influence on Catholicism in the United States for years to come.

2010-04-04T04:06:00.001-07:00

2010-04-03T05:53:00.001-07:00

2010-04-03T05:30:00.000-07:00

Anticipation...Holy Saturday!

Holy Saturday...anticipation!

Holy Saturday is the period of Holy Week when Catholics remember Jesus' entombment. It is a preparation day. Today is a day of quiet and prayerful reflection on the true gravity of the crucifixion and Jesus' redemptive sacrifice. Throughout the world our Churches are empty of the Blessed Sacrament and quiet in anticipation of Easter's triumph over darkness and evil, sin and death.

The quietness of the day permits us to ponder the implications of physical death and how each of us in life and death, affects others. The day before Easter also permits the Elect and the Catechumens a period of solitude and reflection as they prepare to participate in a most meaningful manner in the Sacraments of Initiation. After the frantic activities of Palm Sunday, Holy Thursday & Good Friday…Holy Saturday is a pregnant pause before the realization of the resurrection is realized on Easter Sunday morning.

This period should be prayerful and quiet, as well as contemplative of the chronological and historical events that we call the Passion. This day should also provide anticipatory happiness as we prepare to celebrate the New Passover. Holy Saturday permits us to deeply saturate our parched theological spirits in images of the waters of Baptism, and symbols of restored life. This evening Mother Church will initiate a new fire and the Paschal Candle will stand in our churches providing radiant light and reminding us of Jesus' Easter triumph. We will profess our faith in the Creed, along with our newly initiated brothers and sisters. We will partake in the Eucharistic sacrifice, now the unbloody reenactment of Calvary.

In our Churches, new water will be blessed and there will be a sprinkling over all of us to recount our sacramental incorporation through the living waters of baptism, the warming power of the Holy Spirit in confirmation and the nourishment provided through our Eucharist, Jesus, the Bread of Life. It is a good and appropriate thing that this Holy Saturday period is quiet and contemplative, relaxed and subtly expectant.

The Easter Vigil and all of the subsequent liturgies of Easter will explode our sensual perceptions and provide us with a liturgical extravaganza of auditory, tactile and sensory stimulation. As we participate in the theological burst of liturgical expressions of Jesus' resurrected glory, we are able to closely relate to the Apostles, to Mary and to all the believers in Jerusalem on that first Easter morning. Sorrow turns to joy, darkness is transformed into new light and our joyous expectations of new and eternal life are renewed.

Our faith will again feel the intensity of the Paschal Mystery as the entire communion of the Church proclaims, "Alleluia! Alleluia!" We should most deeply recall the prayer from the blessing of the Paschal candle. "Christ yesterday and today, the First and the Last, the Beginning and the End, the Alpha and Omega. All time belongs to Him and all glory, forever and ever. Amen.

The Chill of Good Friday!

2010-04-02T05:07:00.001-07:00

Good Friday always make me shiver. When I think of the interior of my Catholic parish on this day, the cold realization of Jesus' suffering and death surrounds me. The Altar is stripped, the sanctuary is bare and the Eucharistic Lord's absence in evident by the open tabernacle doors. The intense sacrifice made by Jesus on the Cross is felt keenly in a Church sans Jesus in the tabernacle.

The quietness of the sacred space echoes faint, "Hosannas", and loud shouts of, "Crucify Him."Here in the parish Church ,in the shouting silence of the empty space, We Catholics begin to feel Jesus suffering and death. That is because we participate in His death through our own initiation at Baptism. Our common Baptism unites all of us and permits us to share in Jesus' Eucharistic sacrifice.

Good Friday does not mark the end for Jesus, nor for us…rather it a sign of hopeful expectation. That expectation transcends the historical and harsh reality of Jesus' crucifixion and death. The expectation is felt in Jesus' complete submission to the will of the Father, and the subsequent Father's power that raises Jesus from the dead. Most Catholics don't usually think of death as an expectant resurrection. Most Catholics separate Jesus' total dependence on the will of the Father from His suffering and death. Most Catholics forget to recall it is the Father that raises Jesus from the dead. We are too lost to think of these aspects of redemption. Too surrounded by the cold darkness of the power of evil. Too overcome with the physical death of Jesus. We don't like to think of a Church without a Eucharistic presence, without light and joy.

However as Catholics we need to focus on not just Jesus' death, but His impending resurrection. The impending resurrection is the theological extension of Jesus' faith in the Father. He suffers the Cross, because He believes in the Father's love. We too need to recognize the same in Jesus. We share in the mystery of Jesus' death because we are faithful of resurrection. The harsh reality of death undergoes a transformation in perspective when there is a belief in the resurrection.

God's love and power transforms the cross from a symbol of shame and death, into a true realization and expectation of new life. Jesus knows this. He trusts in the Father. The Father exhibits faithfulness to His Son and raises Jesus from the cold and empty tomb. It is only after I think of the cold reality of Good Friday am I able to sense the Father's incredible warmth and power. That's what makes us believers in faith. We know that we will not be abandoned in the solitude of death, but will participate in the Paschal glory of the warmth of the Resurrection.

When I remember that the Good Friday story has another lesson to communicate, is it possible to understand that my parish Church will be transformed on Easter Sunday morning. The liturgical reenactment of Jesus' passion is the beginning of the story, not the end. As believers, we have hope in God's power. We anticipate God's resurrection of Jesus on Easter Sunday. When we realize this, shivering stops and I am acutely aware that there is life and warmth in the Resurrection, for Jesus, for us all.

Good Friday...we prayerfully remember the Passion of the Lord.

2010-04-02T04:42:00.001-07:00

The Eucharist, Gift of Finest Wheat!

2010-04-01T05:03:00.001-07:00

The morsel of Spy Wednesday....and a Kiss!

2010-03-30T08:57:00.001-07:00

The Kiss of Judas by Giotto

One of the Twelve, who was called Judas Iscariot,

went to the chief priests and said,

"What are you willing to give me

if I hand him over to you?"

They paid him thirty pieces of silver,

and from that time on he looked for an opportunity to hand him over.

On the first day of the Feast of Unleavened Bread,

the disciples approached Jesus and said,

"Where do you want us to prepare

for you to eat the Passover?"

He said,

"Go into the city to a certain man and tell him,

'The teacher says, "My appointed time draws near;

in your house I shall celebrate the Passover with my disciples."'"

The disciples then did as Jesus had ordered,

and prepared the Passover.

When it was evening,

he reclined at table with the Twelve.

And while they were eating, he said,

"Amen, I say to you, one of you will betray me."

Deeply distressed at this,

they began to say to him one after another,

"Surely it is not I, Lord?"

He said in reply,

"He who has dipped his hand into the dish with me

is the one who will betray me.

The Son of Man indeed goes, as it is written of him,

but woe to that man by whom the Son of Man is betrayed.

It would be better for that man if he had never been born."

Then Judas, his betrayer, said in reply,

"Surely it is not I, Rabbi?"

He answered, "You have said so."

Wednesday's Gospel reading preludes the betrayal of Judas. How appropriate then is the sometimes used phrase of, "Spy Wednesday," for this period before our celebration of the Sacred Triduum. The events that lead Jesus to the cross are filled with intrigue, suspense and an impending sense of disaster.

Clearly, the powers of good and evil, light and darkness, sin and salvation are poised to exhibit themselves at the place we call Golgotha. The Joannine account of Jesus betrayal seems to show Jesus' deep understanding of His role as the Messianic fulfillment. Judas in his interrogatory and somewhat cynical half statement of,"Surely it is not I, Rabbi?" provides the catalyst for the process of darkness to unravel. What is so significant about this ,"Spy Wednesday" is that it theologically reflects the daily struggles we all endure in order to accept a relationship with the Lord.

To live the life that Jesus intended for us is a perpetual struggle on a daily basis with good and evil. Sometimes when we are questioned about our transgressions, we, sometimes answer back. "It's not me Lord." But the tranquility of Jesus' realization of His mission provides us with hope in the days to come. Rather than provide a discourse to the Twelve, Jesus calmly recalls the Old Testament references to Him and even shares a piece of food with Judas, simultaneously dipping a morsel into the bowl. We should remember that the act of sharing a meal with others is a deeply rooted Semite notion of intimacy and close relationship. Jesus is sharing the meal, not with strangers, but with intimate friends.

Often, we dip morsels and share food with those we love; we feign intimacy and even deceive one another. Jesus is not blind to the events that are revealing themselves as a result of Judas' clandestine negotiations. Judas has turned on Jesus' friendship and love. We too in our lives are sometimes turned against Jesus' love through sinful and unloving activities. There is a real message here in Jesus' tranquil resignation to the events that are coming. Faith in the love and power of the Father.

As believers in the power of God's love and goodness, Spy Wednesday, should provide a period for reflection and introspective prayer. We need to examine our lives and look for the moments that we have falsely shared intimacy with our brothers and sisters in faith. More precisely, contemplate of lack of true, "communio" in our lives. With Judas' false interrogatory response to Jesus, he reveals his true self. Betrayer. Jesus sees right through Judas' false piety and friendship. Jesus sees right through our own appearances when we falsely present ourselves as holy and faithful followers. Our frail human spirit reflects in our sinful acts and lack of faith.

Jesus recognizes this and offers new hope to Judas and us. The "morsel" which Jesus offers to Judas is an offering of friendship and love. Some biblical scholars have even indicated that the "morsel" is symbolic of Jesus' Eucharistic manifestation. Judas does not partake of the meal with Jesus, but he was invited just the same. There is a sense that Jesus recognizes Judas' confrontation with the powers of evil. Jesus does not admonish him or chastise him, but permits Judas to engage in this struggle and reveal the implications of his actions and unfaithfulness. There is hope for conversion. There is hope for grace. There is hope in Jesus' acceptance of the Father's plan. There is hope for Easter glory.

As preparations begin for the Church's celebration of our New Passover ,this Wednesday before the Triduum invites all of us to share in, "Holy Wednesday", not to pursue darkness and evil, but progress on the path of light and life. The Church in its wisdom sees this period of "Holy Wednesday" as a time for personal preparation. Unlike Judas, our preparations should be motivated by the promise of new life in the Paschal Mystery and not a rejection of the "morsel" which Jesus offers to us in friendship and love.

2010-02-22T09:48:00.001-08:00

During the season of Lent it is most appropriate that Catholics through prayer and meditation reinvigorate themselves to the quiet mystery God's Word. There is perhaps no greater manner in which to contemplate the mysteries of the life of God than through the ancient art of icons. For most of us in the Western or Roman Church, icons are unfortunately not familiar examples of saintly and theological representation in our Churches. However, I am thankful to say, our cultural and western attitude towards these long revered and ancient Eastern Church depictions of the most sacred is coming to an end. Icons are part of the heritage of the entire Church and should be rightly considered as part of our liturgical sacred spaces in every rite of the Church.

Pope John Paul II had an iconic portrait of The Blessed Mother installed in the papal chapel. It occupies a place of honor and prominence in the sanctuary of the private chapel. Rightly, so, Mary as Theotokos (Mother of God) is one of the most ancient titles attributed to Mary (at the Council of Ephesus, A.D. 431). Veneration of icons in her image offer modern faithful Catholic's an opportunity to not only personify our image of the Blessed Mother, but also permits us to transcend to a deeper contemplation of Mary's sanctity through the iconic image. Through the introduction of an icon of the Blessed Virgin in the papal chapel, John Paul II was providing a living testimony to his belief that both Eastern and Western traditions are indeed the "lungs" of the Body of Christ.

The Church, locally and universally needs to foster the development of artistic appreciation in our local parish communities. Often the case, when our sacred spaces are designed, redesigned, altered or modified the true integrity of inclusion of qualitative sacred art is neglected. There is an unfortunate trend towards mass production of our sacred furnishings and accessories. This needs to be changed. Local parish communities need to be aware of the talented men and women that offer their gift from God of artistic inspiration to our Church communities. Those entrusted with the proper design and execution of Catholic architectural design need to include our local artists and artisans in their sacred projects. Quite often, the artist proficient in sacred art is in our own back yard.

Iconography, as an artistic discipline involves many stages and nuances. Strictly speaking, all of the details that are included in an icon are regulated by theological revelations or ecclesiastical traditions. Colors for example, dictate the correct portrayal of Jesus' humanity, another that portrays his divinity and so on. These details of artistic appreciation help us in our spiritual development and serve as very strong signs and symbols of our Sacred Mysteries. In the local Philadelphia area, Susan Kelly VonMedicus, is an iconographer that provides all denominations of faith inspiration through her writing of sacred icons. Her hagiography of Jesus, the Apostles and Martyrs and the Blessed Mother all provide us with a portal that leads us to a deeper appreciation and understanding of Mysterium Fidei. Icons as executed by Susan Kelly VonMedicus are exactly the qualitative artistic expressions that we need to include in all of our Sacred Spaces. As faithful and concerned Catholics, our goal should direct of attentions to providing the best possible resources for our liturgical prayer and worship. Perhaps, a greater appreciation of iconography can be achieved by appreciating the works of such a gifted artist as Susan Kelly VonMedicus. Art and the qualitative expression of artisans is as much part of our Catholic history as evangelization and catechesis. Honestly, the visual arts represent well-honed tools that permit us to effectively spread the Good News and teach the Gospel mystery. In the planning and development of our local Catholic communities, we need more than ever to incorporate the works of our very talented and gifted artistic brothers and sisters, as we design our Churches, our Holy of Holies.

In our Lenten journey of prayer and sanctification, icons present an integral part of our spiritual journey and transformation of faith. Perhaps, we can develop the tradition in the Roman Church of placing an icon in our homes to remind us of God's presence among us. In her writings the 20th century author, Catherine deHueck Doherty recalls the great gift of icons in "Poustina". Poustina correctly is translated as a desert place. In her writings, Catherine deHueck Doherty illustrates the great role icons hold in the Eastern Church and in her continued conversion towards Christ. As we celebrate Lent, let us incorporate an appreciation and affection for the use of icons as we journey for our 40 days of spiritual poustina.

2010-02-17T04:27:00.001-08:00

2010-02-17T04:12:00.001-08:00

StoryTel Foundation...renewal through media technologies!

2010-02-11T09:49:00.000-08:00

Too often the story is told about Catholic institutions being consolidated, merged or closed throughout dioceses in the United States. For, Don & Chris Carney, of the StoryTel Foundation the story is a remarkable message not about closures and endings in the Catholic parish communities, but rater one of restoration, renewal and rebirth. Together, both brothers operate the non-profit foundation, StoryTel with a distinct purpose in mind; namely the restoration of the sacred to our Catholic parishes and institutions nationwide. They accomplish the remarkable task of renewal and revival through the production of documentaries called, “ On Assignment,” that tell the stories of charitable institutions in the United States that have overcome the pitfalls of urban blight, migration to the suburbs and declining enrollments through a genuine commitment of prayerful renewal of Catholic rituals and principles.
Saint John Cantius Parish on Chicago’s North-west side was a victim of urban decay, isolation from multiple highway expansions and decreasing parish enrollment. However, through the activities and inspiration of Father Frank Phillips, the parish destined for closure became an inspirational oasis for the rebirth of parish activities and a new life. While attending Sunday Mass at the Church both Don & Chris Carney were deeply inspired by the old church’s architectural grandeur and deep spiritual intensity, they decided to help with the development of a documentary. Saint John Cantius; Restoring the Sacred marked the first production for StoryTel Productions. Working with Father Frank Phillips they produced a broadcast quality documentary that reveals the life of Saint John Cantius Parish as it struggled to regain a vision and renewed purpose for its Catholic ministry.

Initially, the parish was one of the first in the Chicago Archdiocese to celebrate the Eucharist in both English and the traditional Latin. Prior to the promulgation of Pope Benedict’s Summorum Pontificum, the Mass of Pope Paul VI was celebrated in Latin according to the norms directed by the Fathers of the Second Vatican Council. The parishioners of the parish responded favorably and people started to return to this challenged parish for Mass, and increasingly other religious and social activities. The balance achieved between both the old and the new seemed the balance that drew people back to the local parish community of Saint John Cantius. StoryTel Productions also played a pivotal part in this evangelization of what was going on at Saint John Cantius. The production of the documentary was view on EWTN and generated interest in the project from all over the United States and even the world.
At the same time, the parish continued to grow and develop, and a new religious community of priest and brothers took root in the parish. The Canons Regular of Saint John Cantius was created at the parish to undertake a unique ministry in the Church, namely…a restoration of the sacred. The baroque architecture of their parish, the stained glass, the statues and the ability to celebrate both the ordinary and extraordinary forms of the Eucharist provided the seminal activities that rejuvenated the parish, and StoryTel told the tale through its video production.
The production of a documentary is quite an expensive undertaking and that is where the industrious and creative activities of both Don & Peter Carney kicked in. Don Carney drew on years of experience in the entertainment industry and Peter Carney marshaled his expertise in the financial industry. Together, they generated philanthropic support for the production and distribution of the, On Assignment ,DVD and produced a source of evangelization, catechesis and revenue generation for the parish of Saint John Cantius. Fr. Scott Haynes, CRSJC of Saint John’s calls the work of StoryTel, “a powerful tool for our parish’s revitalization and the work of our religious community! Fr. Haynes also called the documentary, “a decisive tool for attracting vocations, a video that clearly proclaims, who we are and what we do!” Excitedly, he also praised the documentary for its monetary contributions to their ministry.

When speaking with Don Carney of StoryTel, one cannot help but feel the energy and dynamic enthusiasm he brings to his company’s vision of restoration and revitalization of sacred Catholic activities and ministries. The mission for StoryTel is not one of self promotion, it is a company that genuinely wants to make a difference through the videographer’s camera lens, telling the stories about people and places that need financial, spiritual and temporal help and renewal.
Peter Carney directs the behind the scenes activities of generating financial support for StoryTel’s projects and generating interest with individual and corporate sponsors. While not the person behind the lens, Peter is another dynamo of committed activity and has a contagious devotion to the economic benefits StoryTel offers to humanitarian aid through the production of its documentaries.
Together, both brothers are developing a not for profit corporation that is committed to utilizing the latest technologies in media communications to spread the message of the Gospels by contemporary media productions that inspire faith and restore our appreciation of the sacred.

StoryTel Productions has produced a second documentary, Salem Christian School; All Things Are Possible that illustrates the heroic battle of a Chicago inner-city school to keep bringing the message of Jesus Christ with high-quality education. The story follows the changing demographics, economic problems and the challenges in keeping a school alive in both faith and physical school functions. The documentary clearly shows the efforts of students, faculty and other heroes that keep the school alive despite the adversity of the city, the school system and persistent pessimists working towards the school’s institutional demise.

StoryTel Foundation provides an uplifting spiritual perspective on parishes and schools that are often presented with monumental tasks that hope to undermine their Christian message of faith, hope and love in an urban society. StoryTel tells the stories of these institutions in a manner that challenges every person of the Catholic faith to work towards a, “can-do,” attitude in our ongoing need towards a restoration of the sacred in our faith, our neighborhoods and our schools. The work of StoryTel indeed is an embodiment of the call of the Catholic Church towards a new Pentecost in the Church through all modern means and methods of catechesis and evangelization, especially through modern media technologies.

Further information about StoryTel can be found at http://storytel.com . A visit to the site will also provide links and excerpts from their media productions with links to both Saint John Cantius Parish and Salem Christian School. Both documentaries air regularly on EWTN and New Life Christian Network. The stories recounted by StoryTel Productions are infectious and they tell the story of genuine faith and renewal that motivates their production company and the many people and institutions it hopes to faithfully serve.

Appreciating Catholic Signs and Symbols!

2009-10-21T09:12:00.000-07:00

Benedict XVI celebrating Easter Vigil 2007. Photo from About Catholicism.com

"Every piece of art, be it religious or secular, be it a painting, a sculpture, a poem or any
form of handicraft made by loving skill, is a sign and a symbol of the inscrutable secret
of human existence, of man's origin and destiny, of the meaning of his life and work."

Pope John Paul II, in his Address at Clonmacnoise, Ireland, September 1979

There is quite a bit to consider when reading this statement by the late Pope John-Paul II. Catholics in the design and implementation of Sacred Arts should especially understand there is a transcendence associated with the work of artisans and craftsmen that goes beyond the hands of the artist. The works executed by artists of all degrees offers particular insight into the human desire to worship and honor the Deity. Uniquely, the artist is vocationally called to provide a perspective of expression through the arts that incorporates both physical and metaphysical aspects of our human understandings of reality. The goal the artist expresses deals with the most intrinsic desire for humans to understand the mystery of their existence in relationship to the Creator and our constant need to explain our faith in a logical manner.

Fidens quarrens intellectum was the axiom advocated by Saint Anselm, faith seeks knowledge is critical to our appreciation of sacred art in our Catholic faith. The presence of sacred art in our Catholic Churches is an intellectual manifestation that intends to integrate our temporal and spiritual aspects that longs to understand God. Throughout the history of the Catholic Church and indeed all religions, the faithful have expressed their seminal beliefs of faith through artistic representation seeking clarification and understanding of human existence and the existence of God.

Perhaps that is the reason there is always such careful consideration of artistic representations that are designed into our Catholic Churches. Ideally, the design process surrounding a Catholic Church needs to focus on the aspects of Word and Sacrament, most especially the Holy Eucharist. The altar of the Catholic parish community should always be the focus of our attention. It signifies not only a physical point of concentration that draws the parish community to active worship of God, it marks the place when the Eucharistic Sacrifice takes place and Christ’s Real Presence comes among us in the Sacrament of Eucharist.

Over the course of the past 4 decades, there has been an explanation of Eucharist as a community meal in addition to being a sacrament. What is not as readily considered is the transcendence of the Eucharist as Christ’s sacrificial offering for the sanctification of the world. Often, Catholics forget the Eucharist transcends our understanding of space and time. It unites the contemporary Catholic with our theological and chronological past, our present and our eschatological future with God.

Catholic artists have a responsibility to understand the role Sacred Art has in joining these temporal and cosmological aspects of our Catholic faith. The underlying premise of artistic, architectural and structural designs of our Catholic Churches needs to always be mindful of all of these elements. Parish communities in planning Catholic churches need to understand the symbolic and ritual elements that are always present in our Catholic signs and symbols. The artist needs to incorporate signs and symbols as a manner of theological expressions of our Catholic beliefs. Representational art contains our Catholic heritage as a People of God, a community of faith and as a Church on an ongoing pilgrimage towards God.

Unfortunately, the designs of our sacred spaces are terribly horizontal and neglect the vertical aspects of prayerful transcendence that is part of all of our Catholic rituals. The trend to incorporate secular design, making them utilitarian spaces rather than Temples of God’s Presence should be a critical concern for Catholics. Catholic Churches in addition to providing a physical place for worship need to reflect the traditions that the Real Presence of Christ in the Eucharist is the focal point of our sacred spaces. Far too often, design of the actual building has resulted in disregard of our Catholic sacred rituals. Modern design often neglects the requirements of the Sacred Liturgy and disregards the need of the worshiping Church in favor of considerations of HVAC and mechanical considerations.

The Catholic Church is constantly developing in our theological applications of form and function. The liturgical changes of the Second Vatican Council are now considered part of the entire living liturgical development that joins the traditions of old rituals and devotions as part of our heritage of artistic expression and faith. Artists and craftsmen, architects and faithful need to appreciate not only the pragmatic functions of quality design, but most importantly design that is rooted in liturgical worship and not architectural utilitarianism.

Hopefully, all of the people involved in the artistic and architectural design of our Catholic Churches appreciate the rich heritage of our Catholic liturgy. Every effort really needs to be made to incorporate the great traditions of the past, along with the genre of the present as the artistic expression of our Catholic understanding of faith seeking knowledge.

A refreshing wind...

2009-07-03T09:11:00.000-07:00

There is a new wind blowing within the architectural designs of Church buildings in Catholicism. It is the restoration of the Church’s ancient and traditional appreciation of our Eucharistic celebration as an act of transcendence towards a deeper understanding of the Divine. New church buildings and sanctuaries are undergoing a restoration of traditional applications of classical art and architectural motifs, which thankfully call our liturgical prayer to an awesome appreciation of the mysteries of salvation history. Time and space again are reconciled through the architecture of this shrine that loudly calls the worshiper to metaphysical and ontological beliefs that go beyond modern presentations of secular humanism, towards an ascent into the sacred mystery of God’s existence.

The liturgical expression of the Church at prayer is an action that incorporates the most sacred mysteries of our beliefs and rituals into a human expression and human attempt to worship God. One of the remarkable things that I have noticed recently while attending the celebration of the Mass is the fact that Catholic priests and the faithful are increasingly willing to participate in a deeper manner of prayerful and sacred celebrations. Consideration once again is made in our Catholic Churches to utilize not only better communal participation in the Sacred Mystery, but there is a restored feeling of “sacred” taking place with the use of formerly exiled rituals such as chanting and incensation of the Altar. Catholics are once again being Catholics…with all of the signs, symbols and rituals that accompany our rich theological and liturgical traditions. Perhaps this rejuvenization of Catholic ritual is a sign that modern believers are beginning to understand the eschatological and transcendent nature of the Pascal Mystery. Perhaps, it is better catechesis and education of our Catholic faithful about the ritual foundations of our sacred liturgies, or finally perhaps it is just a deeper sense on the part of humanity that there is a more significant and deeper intensity to the meaning and purpose of our lives.

Perhaps after decades of institutional and architectural vandalism Catholics both clerical and laity together are taking a retrospective look at the rich historical, social and artistic heritage that is found in our Catholic Churches. Just a generation ago…Catholic Churches were…so to speak…modernized…or in my estimation, sanitized of there ornate signs and symbols of Catholic sacraments and beliefs. Today, thankfully there is a movement to restore Catholic art and design to its appropriate pedestal that integrates not only form and function, but ritual and sacred traditions as well.

My own Catholic parish, which was built post- Vatican II, was void of any devotional shrines to the Blessed Mother. Recently, racks of votive candles were installed, so Catholics would offer prayers for the Blessed Mother’s intercession before God. There is a resurgence of appreciation towards the rituals of the past, with a healthy inclusion of 21 century theology happening in our Catholic Churches. Not only does this resurgence apply to older generation Catholics, but is prominent among generations X, Y and Z…as they explore the mysteries of Catholicism through a perspective and appreciation of it’s deep spiritual heritage.

John XXIII famously called upon the Holy Spirit in the Second Vatican Council to “open the windows,” of the Church. During the decades that followed, not only were the windows opened, but treasured parts of our Catholic identity were tossed out the open windows as well. It is refreshing to know that modern Catholic artists, architects and believers are willing and able to integrate the finest points of our artistic and cultural past into living examples of contemporary Catholic worship. Proving again and again the true transcendent nature of our sacramental and theological beliefs in a Triune God.

Adoration at Holy Trinity Parish...accomplished by King Richards.

2009-04-22T07:01:00.001-07:00

When one usually thinks of a Catholic Church’s construction project, the details involve modern representations of sacred art and architecture that has evolved since the mid-1960’s. Not so with Holy Trinity Catholic Church in Westmont, Illinois. When their pastor, Father William DeSalvo decided to renovate his parish facility to include a Eucharistic adoration chapel, he turned to a company that specializes in making churches look like churches. King Richard’s was given the task of designing and procuring all of the new materials to makeover a classroom at Holy Trinity into a traditional adoration chapel. However, one stipulation was that the chapel look old even though the entire project was newly designed and constructed.
The task of construction of the gothic style main altar and two side chapels began after much planning and consideration by King Richard’s capable staff with Father De Salvo. What emerged from the substantial project was not only a suitable site for Catholic worship, but also a remarkable example of qualitative contemporary Catholic Church architecture with a traditional devotional perspective.
King Richard’s provided all of the new stained glass windows, lighting, and custom made pews in addition to the main altar and statue niches. All of these exquisitely crafted details were designed, crafted, delivered and installed by the Atlanta based Church artisans staff and artisans.
King Richard’s over the past decade has established a remarkable reputation throughout the entire United States in its attentive attention to details and respect for Catholic sacred art and accessories. According to the company’s owner, Rick Lair their primary mission is, “making churches look like churches.” At the time of this writing, the company is actively engaged in the architectural salvage of religious materials from multiple Catholic Churches in Quebec. With restoration projects completed all over the United States, King Richard’s turnkey services are the most unique and highly respected in the United States.

The adoration chapel at Holy Trinity Catholic Church in Westmont, Illinois is a superlative example of the creative design accomplishments being accomplished in Catholic sacred art and design that incorporates the best of the new with the inclusion of pre-Vatican II devotional practices.
Holy Trinity adoration chapel is a success not only for its traditional craftsmanship and devotional purposes, but because it promotes a quiet meditative space for Eucharistic adoration.
When your parish needs to restore, renovate or design a place for the sacred rites, they should call on the resources of King Richard’s. Their website http://kingrichards.com illustrates their unique expertise and talents in tackling just about any task a religious community can offer.
To take a look at Holy Trinity Roman Catholic Church’s adoration chapel, go to www.holytrinitywestmont.org . Father DeSalvo and his parishioners welcome your visit.

Easter Joy

2009-04-12T08:35:00.001-07:00

Behold the Wood of the Cross!

2009-04-10T05:06:00.001-07:00

The Reproaches

"My people, My people what have I done to you, how have I offended you answer me!

I led you out of Egypt from slavery to freedom, but you have led your Savior, and nailed Him to a cross.

Hagios OTheos, Hagios ichyros,
Hagios athanatos eleison himas.
Holy is God, Holy and Strong,
Holy Immortal One , have mercy on us.

For forty years in safety, I led you through the desert, I fed you with my manna, I gave you your own land, but you have led your Savior, and nailed Him to a Cross.

Hagios O Theos, Hagios ichyros,
Hagios athanatos eleison himas.
Holy is God, Holy and Strong,
Holy Immortal One , have mercy on us.

O what more would you ask from me? I planted you, my vineyard, but sour grapes you gave me, and vinegar to drink, and you have pierced your Savior and pierced Him with a spear.

Hagios OTheos, Hagios ichyros,
Hagios athanatos eleison himas.
Holy is God, Holy and Strong,
Holy Immortal One , have mercy on us.

For you scourged your captors, their first born sons were taken, but you have taken scourges and brought them down on Me.

My people, My people what have I done to you, how have I offended you? Answer me!

From slavery to freedom I led you, drowned your captors. But I am taken captive and handed to your priests.

My people, My people what have I done to you, how have I offended you? Answer me !

Your path lay through the waters, I opened them before you, my side you have laid open and bared it with a spear.

My people, My people what have I done to you, how have I offended you? Answer me !

I led you, held securely, My fire and cloud before you, but you have led your Savior, hands bound to Pilate's court.

My people, My people what have I done to you, how have I offended you? Answer me!

I bore you up with manna, you bore me down and scourged me. I gave you saving water, but you gave me soured wine.

My people, My people what have I done to you, how have I offended you? Answer me !

The kings who reigned in Canaan, I struck way before you. But you have struck my crowned head, and struck it with a reed.

My people, My people what have I done to you, how have I offended you? Answer me !

I gave you a royal scepter but you gave me a thorn crown. I raised you up in power, but you raised me on the Cross.

Hagios OTheos, Hagios ichyros,
Hagios athanatos eleison himas.
Holy is God, Holy and Strong,
Holy Immortal One , have mercy on us.

A Poor Clare Colettine Nun

Hail Holy Oils!

2009-04-08T11:38:00.000-07:00

Holy Thursday morning is the traditional time for the celebration of the Chrism Mass in cathedral churches throughout the world. During this liturgy the local bishop blesses the oils that are used in the sacraments for the next year. It is a time of celebration, a time of expectation and a time of renewal. During the morning liturgy priests, deacon and bishop are united at the mother church of the diocese to renew their priestly promises as well as celebrate their fraternal ministry. One of the key indications of the degree of celebration this day holds is the singing of the Gloria during the liturgy. We have not heard this joyful annunciation of Christological manifestation since the last Sunday before Lent.

Holy Thursday is a joyful celebration of the sacraments of Holy Orders, as well as a celebration of all the sacraments that shape the worshiping life of the Church. In the Archdiocese of Philadelphia the Chrism Mass is attended by nearly all of the priests, bishops and deacons of the local Church. The liturgy is a time to not only worship during the Eucharistic sacrifice, but a period of enjoying the fraternity of Holy Orders. Whatever parish, whatever county, whatever neighborhood the local parish priest is there with the bishop on Holy Thursday morning in Philadelphia. That is the special point of the ecclesiastical gathering, not only does it celebrate the unity of the local Church, it celebrates the diversity that exhibits itself in each parish, each community as well as each faithful individual. His Eminence Cardinal Rigali has requested more of the parishes send representatives to this liturgical celebration.

This is an exemplary request, not because it is made by an Archbishop to his people, but because it incorporates the true pastoral role a bishop exercises in his respective diocese. One of the things that are frequently forgotten in a diocese is that those ordained share in the Holy Orders of the Bishop. Their activities as priests and deacons emanate from the Episcopal ministry entrusted to the Bishop. The Bishop is the source of all sacramental activity in a local community. The ministry of the local bishop clearly links the local Church with the Apostles, the first priests and the Last Supper which instituted the Church’s Eucharistic sacrament.

Such a union also represents solidarity with the Bishop of Rome as well, as each bishop exercises their apostolic authority in union with Peter’s Successor. In Philadelphia for example, the Archbishop will wear a pallium, which is an external symbol of his union with Benedict XVI and his successors. The signs and symbols of Catholic beliefs and union are prominent on Holy Thursday morning. Most significantly present are the Catholic people that are the recipients of the sacramental life of the Church, as well as the procreators of new generations of faithful Catholics. The celebration of the Blessing of the Oils as well as Holy Orders and most especially Eucharist indicates how uniquely inclusive our faith is. All members, regardless of rank, ordained and laity, young and old are invited to participate in this magnificent expression of the Church’s liturgical life.

Today is a sort of theological synopsis of the Church’s life and activities, past, present and future. While the Chrism Mass reminds us that we are one Church throughout the world, we most clearly see, sense and feel that we are one Church united through our sacramental activities. Holy Thursday morning is the embarkation point from which we travel to this evenings Sacred Triduum and the rest of Holy Week. It is a great start to conclude our Lenten journey and shows us very clearly our Christological union through the sacraments.

The Feast of the Annunciation...a musical tribute!

2009-03-25T04:40:00.001-07:00

Traditional Catholic Architecture Is Alive And Flourishing!

2009-02-18T05:58:00.000-08:00

2009-02-16T11:22:00.000-08:00

Architecture in Communion, by Dr. Steven Schloeder is one book that should constitute required reading by seminary students, clergy and laity throughout the United States. Dr. Schloeder expertly develops the road map for the implementation of the Second Vatican Council’s direction of sacred art and architecture in the United States Catholic Church. Very often texts on Catholic Church art and architecture unfortunately advocate a complete disassociation with the traditional and functional roles art and architecture have played in the history of Catholicism. Dr. Schloeder however advocated a deeper study and appreciation of the heritage of signs and symbols that constitute sacred art as the cornerstones of appreciation for the proper celebration of the Church’s heritage and most importantly its Sacraments as the primary purpose for designing sacred and liturgical spaces.

What is remarkable about this treatise is the close association the author provides to the theological and catechical purposes sacred art and architecture have played and should continue to play in the design and implementation of our Catholic Churches as we develop into the twenty-first century. The examples that are highlighted in the book are tangible examples of artistic and architectural continuity that compliments the role and purpose of the Church, as the sacred place for the celebration of the Eucharist, the Sacraments and the gathering of the People of God…in God’s Sacred House.
Less and less frequently are Catholic Churches in the United States built as a temple of worship devoted to the glory of God. Most often they are built in anticipation of a “multi-purpose,” space that fulfills social, communal and liturgical functions for a nascent parish. However, Dr. Schloeder’s Architecture in Communion is illustrative of the fact that we need to return to a working premise that the church building is primarily a place for God’s dwelling and our worship of the Deity. If indeed we want to implement the deeper and most transcendent mysteries of our Eucharistic belief in the Real Presence of Christ in the Eucharist, our Churches should reflect this transcendental and mysterious theology in a similar manner. Dr. Schloeder illustrates through a historical and theological perspective the goal of incorporating ancient sign and symbols into a vibrant and living 21century Church that actively worships through an appreciation of our artistic and architectural past, while cultivating a culture of artistic expression and adaptation in our contemporary parish communities. Most poignantly throughout the book, the author shows us that in addition to being mortar and brick construction, the Catholic Church is really a magnificent assembly of “living stones,” namely the Catholic faithful that join together to celebrate the Paschal Mystery in monuments of living faith that is best expressed by the axiom,”Lex Orandi, Lex credendi.”
Architecture in Communion was published in 1998 by Ignatius Press. While the book was published over 10 years ago, this reviewer strongly feels it has not yet been fully appreciated or yet understood by neither the ecclesial community nor the artistic and architectural subcultures. However, this book as previously indicated should constitute a required text for every Catholic that wants to glorify God in our Catholic art and architecture. The historical illustrations coupled with the pragmatic recommendations for designing a 21 century Domus Ecclessiae are critical insights that hopefully ignite Catholic building professionals, parishioners and clergy a renewed vision of Catholic art and architecture as envisioned by Vatican II. The interpretation of Vatican II’s desire to revive a dynamic and qualitative artistic movement in the Church reflects clearly the artistic and theological continuity that is sometimes missing in our liturgical design and implementation.
Architecture in Communion deserves a place of prominence in every Catholics’ theological resources library.

2009-01-05T06:58:00.000-08:00

Dedication of Saint Gabriel Church, October 2, 1904. Solemn Mass of Dedication (Coram Episcopali) Archbishop Patrick J.Ryan officiated and presided at the Mass.
Recently I came across a website, http://phillychurchproject.com .The site, Philly Church Project highlighted the various Catholic Churches in the Archdiocese of Philadelphia that are in particular need of architectural preservation and attention. I was quite please to note that my own home parish of Saint Gabriel in the city's Grays Ferry section was mentioned as one that requires preservation and attention.
The more I explore the topic of Catholic art and architecture, the more I seem to uncover regarding places that are in need of not only preservation of important architectural features...but also restoration of these same features that have often been neglected, mutilated or just plainly destroyed.
That is not to say that everything out there is a superlatve example of art and architecture...it isn't. However, it seems there is a unique opportunity for Catholics to take "inventory" of our local parishes and make note of the important historical points of local architecture before those points are forgotten, misplaced, altered or even destroyed by well meaning good intentions.
While the demographics of American Catholicism is shifting away from the traditionally large cities, these "brick and mortar" examples of 18-20 century Catholicism are often left as isolated testaments to the legacy of the great period of American immigration and Catholic expansionism. Sadly today, these buildings are incredibly difficult and expensive to heat, cool, maintain and repair. For these reasons it is so important to rely the generosity of others to keep these temples in a viable condition. If indeed they cannot be preserved, then every effort should be made to keep a photographic and historical image of the parish community as it exists and formerly existed in our sacramental memory.
I am always fascinated when reading through a parish history of Saint Gabriel Church from the 1940's. The photographic representations present in the anniversary books that celebrate this Catholic parish are quite honestly precious time capsules that capture every aspect of American life and Catholic culture as they unfolded through the parochial parish experiences. Not only are these parish histories great tools of research but they also show us clearly the journey of spiritual development our parents, grandparents and great grandparents have experienced in our Catholic faith.
Remarkably in the Archdiocese of Philadelphia the archives housed at Saint Charles Borromeo Seminary contains quite an impressive colletion of these parish histories that recall the vivacious life in 19th and 20th century Philadelphia Catholicism.

Liturgical Design requires Prayer and Special Considerations

2008-06-12T11:52:00.000-07:00

When it comes to the design and architecture of a sacred space for the celebration of the Sacred Liturgy there should always be considerable amount of time, consideration and prayer that is incorporated into making the decision. Additionally, if the Church is being "retro" renovated, perhaps to provide for an oversight in the building process, or modernization of an antiquated structure, or for that matter, the redesign of an overly modern space into something more traditional priests and people need to pay particular attention and respect to the architectural details and the proper context in which the Church was originally designed.
It has recently been noted in the secular press, (The News Journal of Wilmington) that Saint Cornelius Church in Chadds Ford, Pennsylvania is undergoing a "liturgical" makeover. What that means is that this church, designed and built in the early 1990's, is receiving a transformation of sorts into a pre-Vatican II church. This is a change from its intended modern industrial design that was conceived by the original architect and parishioners when the building was constructed.
In its inception, Saint Cornelius Church in Chadds Ford was perhaps one of the finest examples of liturgical design that was heralded by the Second Vatican Council, and by the United States Catholic Conference of Bishops. The church reflected the needs of a living and growing parish community. There was a large baptismal font, a singular stone altar for the Eucharistic celebration, a chapel of the Blessed Sacrament completely apart from the active space of liturgical worship and a large area of plain white walls intended to focus the attention on the altar, around which the entire assembly was gathered.
Recently in the past few years, the space proper to the celebration of the Eucharist has received a refit, complete with catalogue ordered statues of Mary and Joseph, a raised platform to elevate the sanctuary, a dislocated and reworked tabernacle, a series of wooden partitions behind the altar and faux marble painting throughout the structure. A faux Florentine style crucifix has replaced a very well-detailed representation of Christ on the Cross, and local Philadelphia and American Saints are portrayed each in their own panel as additional distractions in a rather busy and now cluttered sanctuary.
When the Church was designed by Philadelphia architect George Yu, the space was intentionally designed to avoid visual noise around the Eucharistic Altar of Sacrifice. It is a magnificent stone altar that sat prominently in the sanctuary and clearly was the focus of all sacred celebrations. The presidents' chair was also placed on the same axis as the altar and the baptismal font and there was a clear indication that the Sacraments of Initiation placed at the entrance of the Church lead us to participation in the Eucharistic Celebration, with the Celebrant, the presiding minister directing the entire liturgy. The space was quiet, void of too much furniture or statues or images. The clear indication of the space reflected the Liturgy of the Word and the Liturgy of the Eucharist, two manners in which Christ Jesus reveals himself in the Eucharistic Sacrifice.
One aspect of the Church that was unique was the lack of a physical tabernacle in the large body of the Church. The Blessed Sacrament was reserved in an atrium like area in a tabernacle that was starkly placed on a column. The area of reservation was accessible even if there was a Mass going on in the Church, people could spend meditative time with the Eucharistic Lord, without attending the celebration of the Eucharist. The space was clearly designed to accentuate the ancient tradition of the Church of reserving the Blessed Sacrament in an area for private prayer as well as a repository for the Eucharistic species, as well as Viaticum.
Today the Church has the tabernacle placed in the center of the sanctuary. The altar is surrounded with a raised floor, images of saints and statues have been introduced into the liturgical space and the entire Church has been redesigned to reflect a Catholic Church of long ago. Respect for the intrinsic design and function of the original structure has quite literally been lost…if not destroyed or to say the least vandalized by pastoral intentions to "warm" up the space.
The points that really need a consideration are these:
Should a parish community be allowed to redesign or retro fit its liturgical space without the counsel and direction of qualified architects, designers and artists?
Should sacred space be determined by at the discretion of the pastor?
What objective norms are used to determine this renovation?
Is there professional planning and design involved?
IWhat was or how was the space designed to function?

Of course, since 1991 this Church has seen quite a few changes to the liturgy. Even the American Conference of Bishops has expressed opposing points of view among themselves regarding the position and placement of the tabernacle in the Church. Traditionalists (namely architectural) have opposed Modernists (sometimes reactionary) throughout the history of ecclesial design and implementation.
However the real matter here is not one that concerns itself with traditional verses modernistic, but rather a question of artistic design and functional integrity for our most sacred of spaces, our Catholic Churches. My biggest concern is not simply that the liturgical space has been altered or amended. My greatest concern is by what objective and normative architectural, artistic and liturgical guidelines have these changes been made?
What would stop a parish pastor from making more changes again in 15 years? Perhaps we could lower the ceilings and Astroturf the sanctuary in 2020 if the latest pastor really feels this necessary!
Catholic parishioners need to pay careful attention to the activities that are going on in their parishes. While the bishop is the chief liturgical agent in a diocese, with the local parish pastor as his representative, parishioners should not just blindly let liturgical renovations happen without serious discussion and debate about the intended results. What I precisely mean by this is that while the bishop and priests of the parish are the theological and liturgical end points that decide the project under our Code of Canon law, parishioners need to acquaint themselves with the nature and scope of the project.
Factors that additionally need to be considered include the choice of artisans and craftsmen that are engaged to complete this renovation. If there are local craftsmen and artisans that are able to provide the parish community with quality artistic presentations, they really should be considered.
In our local area as well, there are numerous talented and trained artists and craftsmen that could provide idea-services to renovate a parish church. However I do believe that the integrity of a building’s design should be respected and preserved. For example, one would hope the columns of Bernini at Saint Peters in Rome, would not be replaced with arbitrary columns of concrete. It is the same way in a parish church, the design and architecture needs to work properly with the function of the celebration. If indeed there needs to be an inclusion of something missing (for example a centrally located tabernacle), that project should really be completed with the highest consideration and respect for the original design of the Church. Just plopping a tabernacle into the central praxis of the church is not the best esthetical practice. Nor would it help the situation to just randomly pick a tabernacle from stock, when a uniquely modern design was needed for the liturgical space. It would be akin to placing a Victorian sofa in a home surrounded with Chippendale chairs! The two just don't work together.
Finally, as always, we need to utilize the best design and materials that a parish can afford when they renovate, redesign or replace a sacred space. After all, we are talking about our liturgical expressions of prayer and sacraments destined to glorify almighty God. Only after careful prayer, planning and exceptional implementation should we be satisfied with offering our highest praise to God in our just as exceptional sacred spaces.
*
Hugh McNichol is a Catholic author and journalist that writes on Catholic topics and issues. Hugh studied both philosophy and theology at Saint Charles Borromeo Seminary in Philadelphia. He writes daily at: http://verbumcarofactumest.blogspot.com & http://catholicsacredarts.com
Nothing Left Unsaid!” is his daily column @ http://catholicnewsagency.com
Comments are always welcome @ hugh.mcnichol@trinettc.com

Establishment of parish communities for Sacred Art and Artists!!

2008-05-12T10:25:00.000-07:00

I suppose there is a theme emerging here. Over the past few writings, I have called for the development of a Sacred Art Institute within the Catholic Church in the United States. Perhaps the foundation of this educational facility would be best placed here in the Archdiocese of Philadelphia, which is one of the four original dioceses (Boston, Philadelphia, New York & Bardstown), carved from the Primal See of Baltimore , two hundred years ago. Such a location would make a lot of sense. Not only is Philadelphia rich in its artistic heritage, it also offers quite a few artisans and artists that make the area their home.
Now I am not really talking about a new art school, but rather a unique collective space that could be devoted to the study and development of sacred and liturgical arts. One of the best places I could imagine would be to house such an institute in a former Catholic school with an adjacent church. I could think of half a dozen such examples of such sites within the Archdiocese of Philadelphia that would make perfect spots for an arts campus. Quite a few urban parishes with changing population shifts come first to mind. The site could be leased to artists at a reasonable cost and developed into a studio complex where the sharing of artistic skills and intellectual curiosity could be freely exchanged. In the same manner, such a gathering of individuals might also stimulate new life into a parish community that is in a state of urban flux.
There are quite a few points that would justify such an institution. The first point should be a revitalization of good quality and artistic works for our sacred spaces. This community would be exclusively designated as a “Catholic” Sacred Art Institute, so there would be no confusion of artists, patrons and sponsors of its singular purpose.
Secondly, the endeavor would provide good reutilization of parish resources in a period when quite a bit of existing church real estate sits cavernously vacant. Old classrooms not only seem appropriate for the space required by artists, but I would think the quality of natural light would be excellent. If the Catholic parish needs to continue providing minimal heat and electricity to keep a vacant building in “dry-dock” state, then it should not be wasted.
Next the message would be abundantly clear that the Bishop, or in this case Cardinal Archbishop, takes the entire notion of quality art and architecture for Catholic worship seriously and is intent on the success of such a collective group within their jurisdiction. We commonly as a Church provide space to other groups, such as AAA, Knights of Columbus; Red Cross etc…why not provide a permanent and reasonably available place for artisans and artisans. Most importantly, the institute should be adjacent to a living and active parish community. This way the artisan community can truly begin to incorporate the axiom, Lex Orandi, Lex Credendi into their sacred art and ministry.
Recently in the Catholic press there has been some interesting reflections on parishes of historical significance within the Philadelphia Archdiocese. When we think of parishes, one usually associates lots of activity within a parish community. However, this is not the case with some of the older and historic churches of Philadelphia. Most are closed on a regular basis and the Eucharistic Sacrifice is only offered on a monthly basis. It is really unfortunate that historical sites such as Holy Trinity in Philadelphia are celebrated as “architectural jewels”, when in reality they are no longer the active expression of the Sacred Mysteries, but just dead buildings. Old churches especially those with American historical significance should be vibrant, living parish communities regardless of their neighborhoods or ethnic populations. Anything less than an active Catholic Church in the community frankly says to the local community…you are too poor for sacraments. Twenty-first century believers can coexist and even flourish in eighteenth century buildings. Such a disregard for the spiritual integrity of a local community is elitist and at times racist. Church buildings and sites exist for worship and praise of God, not the historical highlighting of antiquated historical accessories. Perhaps the area around this parish church would benefit from a living group of artisans and faithful Catholics. Think about the great influence an arts community would have on the spiritual life of a quasi-existent parish structure.
The catechetical importance of the establishment of such a site would be an invaluable resource to Catholics everywhere as well. Not only would the knowledge and expertise of Catholic artists be preserved and passed on to new generations, such a site would be a shining example of the importance Catholic art and architecture in every age. The availability and fluidity towards an appreciation and experience of “works in progress” would enable educators and faithful to experience “living” artists’ expressions of faith. Such a place could also serve as a showcase for priests and parishioners that are considering the acquisition of new liturgical accessories for their sacred spaces. Priests could speak with artists and watch the entire process of artistic revelation as pieces are created. At the same time, the mistaken concept of mass produced religious articles would be discouraged, and execution of qualitative art would occur. Perhaps even this “studio” would serve as a catalyst for artists and artisans to consider religious art as a Catholic vocation, through which they might serve Christ’s Church. Regardless of the effect, such a place would enable the story of Catholic faith to be promoted and taught through sacred and liturgical art. That has to be a great catechetical effect.
Finally, consider the need for evangelization. Mgsr. Michael Carroll, an old seminary professor, used to say that…”catechesis and evangelization go hand in hand!” There is a lot of significance in this statement. Artistic expression in a parish community really teaches Catholics about their past, present and future as a worshiping community. The visual arts also communicate the pervasive power of God’s Word, as we try to understand and appreciate God in our artistic expressions and symbols. In turn, we try to share and communicate this faith to others in hopes that they might experience the Catholic faith. Such a vehicle for theological evangelization really does exist in the simple paintbrush of an artist. If that were not the case, why would anyone visit the Sistine Chapel?
Sacred and liturgical arts are perhaps a very broad phrase meant to describe those artisans and artisans that embrace their faith in their artistic works. For all of us a Catholics the phrase really should signify the need to teach and spread the Gospel message through the visual arts. Not all art is Catholic. Not all art is worth mentioning. However, sacred art is something, which has had little attention paid to it. It is long overdue. After all, it is only a human expression of our human condition that seeks to know God.
Saint Augustine is appropriate here,”…our hearts are restless until they rest in You. Fulfill this longing through Jesus the Bread of Life.” Confessions of Saint Augustine & partial prayer of the 41st International Congress, Philadelphia 1976

Reuse our Catholic materials!

2008-04-28T12:40:00.000-07:00

Stained Glass at the now suppressed St.Aloysius Church, Philadelphia, Pa.

April 28, 2008 - There is no such thing as “desanctification” within the Catholic Church. That is precisely the reason we need to develop good stewardship practices. The Church needs to reuse, restore and refurbish materials when new parishes are built, not loot the parishes that are closed and sell our religious patrimony to the high bidder, only to be reused and profaned in some secular setting.

Recently in the Archdiocese of Philadelphia, the Cardinal Archbishop of Philadelphia dedicated the parish of Saint Mary Magdalen in Media, Pa. The new church incorporated stained glass and other liturgical pieces that were taken from parishes suppressed in the Archdiocese of Philadelphia a few years ago. Saint Aloysius Church formerly in South Philadelphia was the source for the stained glass windows that now grace Saint Mary Magdalen Parish in Media, Pa. The former St.Aloysius Church was a national parish, dedicated to the needs of immigrant German Catholics in the 19th and 20th centuries. The stained glass dates from the 1890’s was originally produced in Germany for the original parish church.

This is the type of architectural integration and design integrity we need to foster in our Catholic Churches in the United States…quality reintegration of well-executed artistic pieces.

When we are considering the construction of a new parish community, existing resources of materials, statues, altars and so on should be considered for inclusion in the new church building. Not only does the practice conserve parish financial resources, it incorporates the historical and artistic elements of former parishes into the living organic activities of the new parish community. An organic bridge of continuity is built between the faithful communities of the past and the members of the Church present. In the same manner, the theological continuity of the Body of Christ is realized as well.

Parish communities need to be taught that the worshiping Church is a compilation of past, present and future members of the Mystical Body. We are all uniquely joined with all of our brothers and sisters in faith from all ages when we celebrate our Eucharistic sacrifice and the mysteries of our Catholic faith.

Saint Mary Magdalen Parish seems to have gotten it right in even reusing the altar of sacrifice from another suppressed parish, St. Clement, formerly in Southwest Philadelphia. The entire understanding of what the concept of “sacred” invokes is signified by the reintegration of the sacred altar from an old place of worship into a new, sacred place of worship clearly indicates the transcendent nature of our religious beliefs as well as the chronological continuity that endures in our Catholic rites. An altar, consecrated a century ago still represents the sacred mysteries of our Eucharistic faith even when that altar has been transported to a new environment.

Part of the movement in the United States regarding our Catholic Churches is the reinforcement and the reiteration of our churches as sacred space. They are not multi-purpose buildings that have multiple functions…they are our Catholic Churches specifically for the ritual celebration of our most sacred and holy rites. When any Catholic group finds it necessary to build or renovate the parish church, the ritual and sacramental purpose for the new building should always be first in the minds of those responsible for the planning and implementation.

While the Church is indeed composed of living people, we need a temporal place to celebrate our faith. With this in mind, every attempt to preserve quality objects and materials of our historical Catholicism should be integrated with our new sites for Catholic worship. Perhaps the best solution would be to educate clergy, religious and parishioners on the history and symbolism of Catholic art and architecture so they might better comprehend the unique social, cultural and artistic responsibility we as Church are called to preserve. As a Church we are responsible for catechesis and evangelization, but also reflection and comprehension of our most ancient and prolific historical foundations. Between our Catholic past and our Catholic present, there is a theological continuity that exists and deserves fostering and preservation. Perhaps if we consider this organic continuity, understanding Pope Benedict’s rationalization in restoring the Mass of Blessed John XXIII is better understood in terms of a “bridge” rather than an alternative means of liturgical worship.

The Pope clearly understands and wants the entire Church to understand that our Catholic identity is a cumulative appreciation of our past and our present and is continuously growing and evolving as a living, dynamic expression of our faith. In most cases, especially in the United States we sometime forget to realize there is a constant connection between the dimensions of the past, present and future.

In a society that exists in the constant, NOW of our society, the critical heritage of our foundational past is often forgotten. Additionally, the instantaneous demands of immediacy forget to consider the future implications of our actions. As Catholics, we are called to a greater sense of personal and historical responsibility in our actions. Our identity as Catholics is integrated to our theological past and our eschatological future. When we design, plan and build places for our liturgical worship, we should always be aware of this transcendent reality of our mysterious faith.

We are being called in the 21st century to a new age of Catholicism. Namely, a Catholicism that transcends geopolitical and social boundaries, one that integrates our qualitative liturgical and artistic traditions and attempts to adapt our cumulative Catholic identity into a new evangelization and catechesis for the whole world. Perhaps just a simple start of recycling our sacred objects and artistic expressions into modern houses of prayer, we can send a strong message to the entire world regarding our seriousness to instill religious and ecological quality to the next generation of Catholic faithful.

Hugh McNichol is a Catholic author and journalist that writes on Catholic topics and issues. He writes daily at http://verbumcarofactumest.blogspot.com & http://pewsitter.com “Nothing Left Unsaid!” is his daily column @ http://catholicnewsagency.com Comments are always welcome @ hugh.mcnichol@trinettc.com

Caveat emptor!

2008-04-04T07:01:00.001-07:00

There are a couple of things that really seem to be popular in the world of liturgical art and architecture. The first thing is to make parishioners and clergy aware of the fact that they both have a responsibility to procure the highest quality of available materials available for use in their sacred liturgical space. Quite frequently, renovation of parish facilities and the decision to make such renovations is made without the input or use of parishioner's individual expertise. It is really a sorry state of affairs when a community of faith cannot rely on its own individual members and resources to discuss, plan and implement architectural and artistic enhancements in a parish without distractions towards external influences. What I mean by this is quite simple, the parish community with should investigate all of the potential resources available within a local parish or diocese or region to fulfill their artistic needs and expectations. There is no need to go to Italy or Spain or anywhere else to see exceptional examples of artistic works in various mediums. There are quite a few local artists and craftsmen available in our own faith communities. Frequently, there is a misrepresentation made by architects that quality artisans are not easily available in the United States. This is just plainly false. Just about every type of artistic and architectural craftsmen and artisans can be found in our own country. While I am not anti-foreign trade, it just seems that often parishioners and priests alike are misled to believe that if something is commissioned from a European source, it must be better, original and more superlative in every way than the American counterpart. That quite honestly is an example of unsurpassed artistic snobbery and ignorance of what is available throughout the United States.

There are a lot of things that need to be considered when a parish community decides to commission a new statue, or an altar or some other liturgical accessory. One thing that especially and foremost needs to be considered is this…we are an American church, not a Spanish one, or an Italian one and so on. As a faithful community, our worship space, or rather our churches should reflect our American identity. It seems that one of the biggest problems that are faced by American artists and craftsmen is the feigned and often unsupported notion that non-domestic artists must be better trained; more experienced and yes…the ugly word…CHEAPER than their American counterparts. Unfortunately, there is a misconception that foreign labor is less expensive than individually crafted American labor. Well, this is just an underrated untruth with the intent to deceive. In other words, it is a lie.

Quite often American architects and liturgical design studios use the opportunity to travel abroad to visit liturgical guilds and artisans studios as an excuse to use the trip as a professional perk or a fact-finding junket. There is never really an intention to utilize an American artist…these architectural professionals just "pick the brains" of the American artists, solicit drawings and bids from them, and just use the foreign "artistic-factories" because they mass produce drawings and sculpture designed to fit in anywhere with just a few modifications. These modifications, then make, the work an "original" designed and conceived for your church or parish. The only true original feature that results from the studio in Italy or Spain is the packing crate with an original address where the work needs to be shipped.

As a Church, we need to educate everyone about the true value of procuring quality examples of liturgical art that are not only of the highest quality, but truly unique and original to each situation in which they are injected. That is not to say there cannot be a good and acceptable reproduction of an artistic work in a local parish church…but if there is an "original" example of an artistic representation of a saint or patron, why not commission the original work? Really, there is only one…Pieta…and it is in the Vatican. Why not, if your parish wants a Pieta, search for an artist that can provide a new and original interpretation of the image for your parish.

Also, it seems that as always price is the major consideration in all of the artistic endeavors we encounter on a parish level. Our concept is that expensive is best, regardless of the quality of materials or integrity of the artist. Well…that is really not a realistic expectation and appreciation of the purpose of sacred and liturgical art. The monetary factor involved in the commissioning of a piece of statuary or liturgical renovations should be commensurate with the budget your parish community has to allocate to the work of art or the project. Don't be misled as a parish into purchasing a piece of art for the Church environment that is disproportionately valued in its cost…if the quality is poor. Artists and craftsmen are more than willing to work within a projected budget and will be very thankful for a parish's honesty regarding their financial resources (or lack there of)!

Finally, I guess the most important thing to consider is that an artistic project or liturgical renovation is intended as a parish's intention to glorify God, and enhance the prayer experience for a local parish community. We need to always remember that it is about deepening our understanding and appreciation of our ever developing relationship with God that is important here. We are a faithful people that are trying to enhance and develop our communal act of liturgical worship and praise. If we can go about including artistic expressions that keep this point in mind, we are at least at some point towards a deeper theological appreciation through our liturgical art closer to the Deity.

Holy Week...Holy Time!

2008-03-15T08:15:00.001-07:00

Once again as Catholics we gather to commemorate and celebrate Jesus’ triumphal entrance into the City of David on Palm Sunday of the Lord’s Passion. This liturgical observation starts the beginning of Holy Week, where faithful Catholics follow the actions of Jesus towards the fulfillment of the Paschal Mystery. This period should present a reflective and holy period for the worlds Christian faithful. Not only do we celebrate the historical events of Palm Sunday, Holy Thursday, Good Friday and Holy Saturday, we proclaim the transcendent power of God’s eternal mystery and salvation that continues to transform the entire world through the message of Jesus Christ.
As a Catholic , the rituals and ceremonies of Holy Week indicate for me very clearly the true historical character and roots grounded in antiquity of our Catholic faith. The week clearly reminds all of us, that our Church and it’s liturgical expressions are critically important for our present Catholic faith as we recall the institution of our sacred Sacraments during this symbolically rich week.
On Sunday, parishes will wave palm to recall the entry of Jesus into Jerusalem. Our priests, bishops and deacons will wear the liturgical color of red to accentuate the significance of this day on the liturgical calendar but also to highlight the journey that begins towards Calvary after this triumphal reception of Jesus.
The Catholic Sacred liturgy during this week presents all of the richness of signs and symbols through visual use of vestments, the shouts of the hostile crowd during the narration of the Passion, and the tactile reverencing of the Cross on Good Friday. Truly this week is one that is most sacred and our Catholic liturgical traditions reflect the rich tapestry of woven traditions that make up the Church’s worshipping life.
Holy Week also provides a great pastoral opportunity to educate parishioners about the various signs and symbols that the celebrations offer to the faithful. It is an opportune time to teach all ages of the faithful about the historical development of the Roman Liturgy, the importance of Holy Orders and the Eucharist and how this week represents our continuity of faith with the Church of the past, the present and the future.
For this author, Holy Week is the time to immerse oneself in ritual and sacramental appreciation of every sacred day, because our common faith is being demonstrated through our liturgy. Catholics should have a special appreciation for our Holy Week rites, because they most significantly reflect our Catholic Passover through the suffering, death and resurrection of Jesus. The rites of Holy Week indicate the Church’s anticipation of Jesus as the New Moses and our belief that the Kingdom of God is truly manifested in the Church and her sacraments.
This week when you participate in the most ancient and sacred celebrations of the Church, remember this is our celebration of new life in Jesus Christ. The sacred time we enter into during Holy Week, calls all Catholic believers into an expression of “kairotic” time every day of the year. That is why we celebrate and remember, so our faith will be manifested in our actions every day.

Less paper...better liturgy!

2008-03-14T08:49:00.000-07:00

This article is a second release of this musing. It was published last June, but should have another revisit by Catholic readers. In light of the recently listed "sins" that include those against the environment. HJMN

There are always ways that the Catholic Church can join in the environmental movement in small but yet effective ways. One of the things I frequently think about is the considerable amount of paper resources that are generated at a parish on a weekly basis. Think about it, most parishes generate thousands of copies of their parish bulletin. For the most part the parish bulletin is a redundant method of communicating all of the same old stuff. The weekly Mass intentions are noted, the parish organizations make announcements, sometimes the altar boys schedule is included and at my parish the tally from the previous weeks collection. My question is this, do we really need to keep printing off all of the same information, week in and week out. There is a place in the Liturgy of the Eucharist for the celebrant to insert a few announcements. This is right before the final blessing. It would be a great example of ecological stewardship if priests and people would consider using this appropriate time to make announcements that are important each week. Of course this time is not a license to proclaim a mini-homily, but it is a good time to bring everyone up to date in a few concise points about parish activities.
While on the subject of printing a lot of materials, most parishes print their Mass schedules in the bulletin. Additionally each December they print and distribute thousands of monthly calendars that quite honestly contain all of the same old information as the bulletins. Why don’t we take a bold step and realize that in the 21st century, most people don’t even use wall mounted calendars. An insert for someone’s Day-Timer, or Filofax or even a refrigerator magnet would be better utilized. Besides, how many times do most Catholics change their schedule of going to Mass. Not a lot. It also presents an opportunity for the local parish priests to really look at what Masses are not well attended, and make changes. There is a lot of heat, fuel, electricity and other resources that are consumed to have a Eucharistic liturgy for a handful of people. Perhaps fewer slots for Masses would produce larger congregations for a better qualitative Liturgy! Remember all of the pastors out there; good stewardship of a parish’s environmental resources makes for a good and happy parish.
For Catholics that remember pre-Vatican II, they will also recall with fondness the Catholic Missals they used to carry to church each week. All of the prayers of the Mass were contained in the Missal, including the Latin and English translations of the Mass. You could follow along and respond just with the flip of a few ribbons. In our modern parish community we are inundated with the Missalette. They come from a liturgical publishing house, are replaced on a monthly if not quarterly basis and they use up a lot of paper. Why don’t we just get back to using a Missal? When our children are confirmed, it would be a great gift to receive. It would save a lot of trees and cut out all of the costs associated with the use and distribution of the low quality and time endangered Missalettes. An added incentive would also be that if people did not spend so much time turning pages and following the readings, they would make a prayerful attempt to LISTEN to the proclamation of God’s Word. All in all the results would be better for everyone. Less paper, less noise and no need to constantly replace and restore cluttering missalettes.Besides the use of a missal would be a great incentive to Catholic publishing houses to provide a well produced and highly qualitative missal for Catholics to use.
While I am on the point of “highly qualitative”, we need to revisit the requirements for the candles that are used in our liturgies as well. Everywhere you go there are different types of candles, made of all sorts of artificial materials being used to illuminate the Sacred liturgy. There are even candles that are “spring-fed” to keep the melting pseudo wax in a state of constant replenishment. Whatever happened to using good old bees-wax candles? The burned evenly, they were naturally produced and the looked great. Besides, what a better way to illuminate the Sacred Mysteries than by using an entirely natural material, made from the work of bees! There is such an organic and natural factor to our celebration of the Sacraments that using naturally derived candles would provide an illuminated ecologically sensitive message.
Of course in previous writings I have always advocated the use of “natural” environmental spaces. Just to put it plainly, open the windows and the doors and let some fresh air into our Church celebrations. Our liturgy was never intended to be hermetically sealed away from externally natural elements. A little fresh air never hurt anyone. It would also cut down on the use of expensive heating and cooling resources…not to mention artificial lighting.
While we contemplate various methods with which our Catholic communities can contribute to the “ecosphere” we need to remember that it is about the worship of God, and not designing a church that mimics a theatrical boutique. Our sacred space is reflective of the living people that are the People of God, let’s not commercialize it up and keep adding unnecessary “things” to clutter God’s house. If we just took the time to look around our parishes and churches there are many inexpensive ways we could make a positive contribution to the planet’s environment…let’s start with less paper.

Peaceful harmony between ordinary and extraordinary celebrations.

2008-03-05T07:38:00.000-08:00

There seems to be many stirrings around the Church about the return of the Mass of Blessed John XXIII. Seemingly, the desire to celebrate this liturgy is spreading in the Catholic world. Maybe now is the best opportunity for the Church to declare a renovation moratorium on all of the Catholic Churches in the world, so an effective study of current liturgical design and the implementation of the Mass of Blessed John XXIII might be best integrated.
Since the end of the Second Vatican Council, the Church worldwide has been involved in extensive projects that have modified our Holy places of the ability to celebrate the ordinary and the extraordinary rites of the celebration of the Eucharist conveniently in one place. As was the practice, the former altar was removed in most cases, and a freestanding altar was the replacement. At the time, there was no indication that the liturgy prior to the changes of the Second Vatican Council would be restored on a universal level. Well, the permission for this rite of liturgical worship is here, and we need to make our Catholic Churches once again acceptable for the celebration of both forms of the Sacred Liturgy.
A freestanding altar offers the best opportunity for the celebration of either of these forms, because the celebrant is able to adapt the posture ad populum or ad oriens for the liturgical celebration. There are more points as well that need to be included, such as the capability of the reception of Holy Communion with an altar rail and in the kneeling posture and a reappreciation of the sacred space of the sanctuary as part of the ritual observation. With this reevaluation, there is also another point worth considering, and that is the continued use of non-ordained extraordinary ministers for the distribution of Holy Communion, and even the practice of Communion in the hand to be more deeply considered.
The rite of the celebration of the Eucharist according to John XXIII did not offer the possibility of the reception of Holy Communion in the hand, nor did it envision the usage of extraordinary ministers of the Eucharist. One discussion that rightly needs consideration is the further consideration by the Holy See and the Bishop’s Conferences are the need to truly implement the teachings of Paul VI and provide for a stable ministry of instituted acolytes and instituted readers in our parish communities. This author is instituted to both the Ministry of Reader and the Ministry of Acolyte and experience regularly the confusion most parishes have regarding the “stable” nature of these obligations, and the lack of appreciation for each as a specific ministry in the Universal Church. If indeed, the local parishes were able to designate specific men to the ministry of acolyte provisions would then be accomplished for the proper distribution of Holy Communion according to the intended goals of the Second Vatican Council. The abolition of the minor orders and the restoration of the “lay ministries” of Reader and Acolyte are significant because the Council provided another form of participation for the laity, right down to a parochial level in regards to the proclamation of the Sacred Word, and the distribution of the Holy Eucharist. Unfortunately, these ministries are often considered as obligations and offices…picked up on the way to deaconate and priesthood. However, the stable exercise of the ministries of reader and acolyte in this authors own experiences have provided me with greater responsibility and understanding of the importance of specific roles in the ministry of the Church.
One misconception that needs to be clearly corrected is the notion that everyone has the right to participate in the Church’s ministry. This is perhaps the strongest and most erroneous interpretation of Christian rights and responsibilities since Vatican II. No one person or group of persons has the right to participate in any ministry in the Church without proper catechesis and most importantly the permission of the Bishop. The local ordinary, the Bishop is the true priest in any diocese and all functions associated with sacramental and liturgical worship emanate from his Holy Orders. That is specifically why, the Fathers of the Second Vatican Council specifically called for a restoration of the permanent diaconate, to manifest the three distinct orders that are contained in Holy Orders, namely Bishop, Deacon and Priest.
As we develop a more consistent parish structure that involves the presence of just one priest in each community, the responsibility to participate in the Bishop’s ministry will increasingly fall upon deacons and of course the parish community to assist in the parish life. A greater catechesis and understanding on the essential importance of the order of deacons is essential to the development of the Church’s liturgical and pastoral life in the 21st century. In the same manner, a deeper consideration on the roles and responsibilities of laypersons in the sacramental and pastoral life of the Church is critical to the Church’s survival. Instituted Acolytes and Readers present the opportunity for men of the parish community to provide service in real and important ministries that provide unique obligations and responsibilities through the ministries in the development of the parish life of communio.
As we begin to examine our evolving liturgical life in the modern Church, clearly the need to examine not only our liturgical space is overdue, but the need to implement the directives of the Second Vatican Council more fully is overdue as well. While we examine the externals that constitute our sacred liturgical spaces, as a worshipping community we also need to coexist with the celebration of two rites as possible in our own Latin Church. If indeed we make provisions in the design and implementation of our liturgical buildings, we can accommodate the ritual needs of both the ordinary and extraordinary forms with a keen appreciation of each rites requirements and sensitivities.
While we are on this project of self examination the time is right to consider the proper development and appreciation of the roles each person plays in our liturgical and pastoral practice of Catholicism. If we examine and study the teachings of the Second Vatican Council more closely we might discover a new consistency in our beliefs and how they adequately apply to both ministry and service for all of the baptized in Christ’s Church.
Starting with an appreciation of our sacred and liturgical space, we can then provide a proper implementation of liturgical norms and ministries that compliments and enhances each ritual celebration with pastoral service and liturgical dignity.

Building a Church...lets buy back our Catholic heritage!

2008-02-29T06:01:00.000-08:00

A marble Angel of the Lord (1 of 2 angels)salvaged from the former Saint Aloysius Church in Philadelphia, being held hostage by King Richard's Religious Antiques.Throughout the United States, there was a terrible practice of designing our Catholic Churches as “multi-purpose “buildings. Often such a designation included an area for the celebration of the Mass, parish social activities and clerical space for administrative duties of the parish. While the intent was to make the Catholic Church portray a more open and modern religious institution the effect backfired and destroyed our artistic patronages and our architectural heritages. Churches that were constructed during the 40 or so years after the Second Vatican Council is was always most appropriate for pastors and priests to modernize their Churches by taking out the altar rails, removing the statues, modifying or removing completely confessionals and sadly removing the Tridentate Altar of Sacrifice. During these years, we searched as a Church for religious expression; we searched even for the Real Presence of Jesus, because the Eucharistic species was moved around the Church from place to place. First there was a Chapel of the Blessed Sacrament, sometimes there were dueling tabernacles, and finally in some archdioceses and dioceses…Jesus is back in the center. He is right back where he started.
Because the Second Vatican Council encouraged a new openness to the inspiration of the Holy Spirit, some pastors saw this as an opportunity to replace traditional Catholic liturgical accessories with new and modernized vestments, chalices…the seemingly always present liturgical banner and finally plastic floral designs.
With the new appreciation of the Liturgy of Blessed John XXIII and the papal permission issued by Benedict XVI for unrestricted celebration of this rite, Catholic parishes are hurriedly looking for the liturgical accessories they basically have sold off in liturgical yard sales in the past 40 years. Firms that specialize in reclaiming religious materials from closing Catholic Churches have proliferated in the Catholic world. Sacred articles such as statues, stained glass, liturgical vessels and even vestments are offered for sale on E-Bay, at King Richard’s.com and numerous other sites via the internet.
Our Catholic Church has allowed our donated and gifted materials to become part of a secular antiques auction. Signs and symbols that adorned our most sacred spaces can be found as decorative accessories in hotels, bars, dance clubs and yes even non-Catholic religious buildings. A few weeks ago there was a loud outcry regarding the sale of saint’s relics on EBay. While the Church maintains the buying and selling of sacred relics is considered the sin of simony. What do you call selling the pews, stained glass, marble, sacred vessels and vestments from parish Churches that have closed, modernized or consolidated? This author firmly states such materials are for Catholic sacred purposes and not an architectural harvest for salvage dealers that resell our own Catholic fixtures back to us at obscenely inflated price.
While the American Catholic Church is shifting in the demographic distribution of its Catholic population, carefull consideration and reintegration of sacred spaces materials and accessories should always be a primary concern. In a ever conscious eco-friendly world, the Catholic Church needs to reconstitute its sacred materials into new and renovated sacred spaces as an ecological message to the world, and as a gesture of good financial stewardship. Faithful Catholics that struggled and provided the financial resources to provide for our older parishes never imagined their donation, intended for perpetual memorial to find new homes as designer accessories or surplus architectural details. Furthermore, the priests and pastors that have sold off these materials, regardless of bishop’s directives, or well founded intentions have surpassed the limit of fiducial responsibility we entrusted to them.
As we begin to acknowledge our Catholic architectural and artistic heritage, it is time to design, build and worship in Catholic Churches that identify us as Catholics. Incorporating materials from other Catholic sites as appropriate provides a keen tie to our history in both secular and religious forms.
As a parishioner, I strongly shout to all of those responsible for new Catholic buildings and their planning. Utilize an architectural firm that is knowledgeable of the history of Catholic art and architecture. Plan to reuse materials from suppressed or closed parishes. Remember the truly tangible connection that exists between our Catholic ancestors and their aspirations they left us a spiritual and physical legacy. Incorporate old and new, modern with antique, such integration will allow the parish to experience the physical and historical continuity of an inherited Catholicism.

Happy Birthday Pope Paul III

2008-02-28T11:58:00.000-08:00

It is fitting that in the period of the restoration of the Liturgy of Blessed John XXIII sometimes (in error) called the Tridentine Mass that we celebrate the anniversary of the birth of Pope Paul III in 1468.
He is the pope that called the Council of Trent and is largely credited with his inability to effectively deal with the Protestant Reformation as they (the Protestants) like to call it.
Born Alessandro Farnese, Paul III was also related to Pope Boniface VIII.
Paul III also appointed two of his grandsons to the College of Cardinals.
His birthday is February 29,1468.
For lovers of the leap year he would only be a young 135 years old in 2008.
For the Tridentine Traditionalist he would be 540 years young.

No Bishop Bashing permitted!

2008-02-25T14:31:00.001-08:00

You can always tell when the political season opens on Catholics. There is a trend towards Catholic bashing in the press and media. More precisely, in this case there is an attempt by the secular press at Bishop Bashing while trying to play down our Catholic moral, social and ethical principles.
The Catholic League has recently noted a journalistic bashing of the United States Catholic Conference of Bishops in a recent article by Joe Feuerherd in The Washington Post. Well Mr. Feuerherd, any detrimental comments one makes in the secular press is an outright attack on Catholic religious freedom of expression. Political pundits might consider the Catholic Bishops as fair game during the political hunting season, but they are not collectively intended for political or journalistic target practice.
Catholic faithful maintain the office of Bishop is directly descended from the Apostles. We also believe that collectively, the Bishops in the United States and throughout the world speak with moral certitude for our Catholic beliefs and values. Any journalistic attempt at editorial sarcasm against the Catholic bishops is a direct affront to millions of Catholics in the United States and indeed the world.
Catholic moral and social teachings that proclaim respect for the dignity of all human life are the hallmarks of our Catholic Bishops teachings throughout the world. For a newspaper to attack our hierarchy of Bishops, through whatever means, they attack our theological sanctity and traditions on and in an insensitive, anti-Catholic manner.
Regardless of any journalists sentiments regarding political issues or topics, there is no room for any blanket condemnation of our American Catholic Bishops and their human life teachings and policies. As a Catholic author and as a faithful Catholic…such arrogance and sentiments against our religious expressions of faith are beyond journalistic integrities. Journalists have, and indeed the Press collectively has a responsibility to objectively report and recount events as they simply ARE, without any indication of political, theological or social sentimentality.
As a Catholic, I am offended by the blatant lack of sensitivity to issues of human life, values and moral convictions by the Washington Press. Similarly, intentional “Bishop Bashing” against the collective teachings of a Catholic entity is not acceptable and should not be tolerated by any religious organization including Catholics. We share the same constitutional rights as all religious groups in the United States and oppose such overt anti-Catholic rhetoric as totally inexcusable and not acceptable.
Mr. Feuerherd …if you want to bash any ideological philosophy or hypothetical collection of personal beliefs you are free to do so. However, any editorial comments that collectively attack the American Catholic Bishops for their correctly stated opinions on our Catholic views of human life are wrong and unacceptable.
Catholic voters have a responsibility and obligation to support our Catholic Bishops in their teachings during the political campaign. They represent for us, as Catholics, the collective voice of our moral and ethical message from Jesus Christ and the Apostles. To diminish any teachings from the American Catholic Bishops that fosters a deeper appreciation and understanding of the dignity inherent to all human life diminishes our Catholic message and freedom of theological expression.

Lex Orandi, Lex Credendi

2008-02-15T09:53:00.000-08:00

The phrase, "Lex Orandi, lex credendi" has always been the battle cry of good liturgical practices. Namely, "the Church prays as the Church believes". This theological tidbit of liturgical continuity has guided the actions of the universal Church in its expressions of prayer. Whether it is the Liturgy of the Eucharist or a celebration of the Liturgy of the Hours...the prayerful actions of the priest and the faithful always reflects the foundational roots of what the Church believes.
These beliefs are appropriately expressed in our various liturgies.
This does not mean however, there is never a diverse group of alternative rituals and prayers that might be used in worship.
The penitential rite offers various forms that may be used in the Liturgy. One option is to include the revised form of the Confiteor, and sing the Kyrie. During the liturgical season of Lent perhaps it is appropriate and fitting that we focus more distinctly on our call to penance and conversion and express our needs for forgiveness in alternative forms. Reciting this form of the penitential rite not only recalls our pre-Vatican II traditions of liturgy, but also recalls the Roman and Greek influences that have affected our worship throughout the centuries. Remember, the Kyrie is a Greek invocation that is rooted in our prayers before the Great Western Schism. While it might imply there is a true lack of unity between Occidental and Oriental, East and West parts of our Church most clearly it is an invocation to the Father of mercies for universal forgiveness. Once again, our active praying expresses the belief we foster in a merciful God that calls all peoples to salvation.
The Liturgy is also a form of teaching all of us about the rich traditions that play a part in our Catholic lives. Our liturgical expression is reflective of the cumulative journey our Church has experienced since the time of the Apostles. It is also reflective of the diverse cultural contributions that have been made to the form of our liturgical expression for centuries. Our linguistic roots in the Roman Rite are in Latin, but even liturgical development recalls that Greek is an integral tongue of prayer in the Catholic experience worldwide.
In the United States, especially since the liturgical reforms of Vatican II, there has been a tendency to forget our Roman and therefore Latin roots in the liturgy.
The concilliar fathers of Vatican II indicated very clearly that all Catholics should be able to celebrate the essential parts of the Mass in both their native tongues( in our case...English), and in Latin (the traditional language of the Church of Rome).Perhaps only we as Americans have this aversion to foreign languages and perhaps a fear of Latin. Maybe it reflects an antiquated Church or a deeply seated phobia of gerunds and gerundives. Whatever the reason it is refreshing to see the celebrant of the liturgy exercise true leadership of the prayerful assembly and use all available forms and options available to make the Eucharistic liturgy reflect both the beliefs of our Church as well as the traditions of our Roman Rite.
Recently in my parish, in addition to intoning the Kyrie Eleison, the priest celebrants have varied the use of Eucharistic prayers at Mass. The quickie and old favorite Eucharistic prayer number 2...which begins, “Lord you are holy indeed..." has been legitimately replaced with Eucharistic prayer number 4, which uses a different narrative to trace salvation history to the Eucharistic confection.
Once again, lex orandi, lex credendi...does not preclude variety and options, but rather calls celebrant and the people to an active appreciation of the Liturgy, past and present.
Often it is noticed that people seem confused and caught off guard when the celebrant offers various options to our liturgical expression. Perhaps they do not know the responses, do not recognize the language or just do not know that a different form is capable of being used by the celebrant. Excellent opportunity for education in liturgy, church history and sacramental theology. Our expressions of faith not only recall unchanging sacramental truths, but also reflect the active living Church, which offers its message of salvation through changing manners and forms throughout the ages.
The next time you hear the celebrant intoning, Agnus Dei...in place of Lamb of God, recall that our faith is a rich inheritance of traditions and expressions of prayer. Embrace the linguistic and cultural heritage of our Catholic Church, learn how to sing along in various languages, and perhaps Lex Orandi, lex credendi will no longer seem like a frenzied St.Prosper of Aquitaine running across the Pont du Gard in an anti-Pelagian seizure, but another appreciation of our faith's vast history and traditions.

... Lenten journey into Sacred Art!

2008-02-08T07:51:00.000-08:00

In Extreme Humility, by Susan Kelly vonMedicus. Used with permission of the artist.
The Sacred Art community and all faithful believers, in and around the City of Philadelphia should take particular notice of the exhibition at Villanova University taking place in the sacred space of the Corr Chapel.
The exhibition is a joint effort of both Mary Ellen Bilisnansky-McMorrow and Susan Kelly vonMedicus.
The works are on view from 2/1/08- until -3/25/08.
The exhibition features works of various mediums that express a global awareness and thankfulness to the mystery of Christ’s Passion. The theme of the exhibit is, Witness to the Passion.
The Corr Chapel is open daily for prayer, reflection and worship.
The Eucharistic Liturgy is celebrated at 12:05 and 5:45 daily.
Visitors should remember that this is an active sacred space for prayer and worship and not a gallery environment. Please respect the integrity of the sacred surroundings should you visit.

Response to column on Sacred Art from Houston!

2008-02-07T04:47:00.001-08:00

Dear Hugh - Although very late, I just found your post of 09/03/07 on Sacred Art and Architecture. Bravo! Are you working or making progress on developing an American Institute for the Sacred Arts? Would be very interested to hear the latest on this.

The closest thing I know of is The Foundation for Sacred Arts with H. Reed Armstrong, who holds very similar views as yours, and mine by the way!

There is also the more ecumenical CIVA - Christians in the Visual Arts, which is open to protestants, Catholics and everything else in Christendom too.

One thing I believe regarding the sacred arts is that our Church, pastors, building committees, "liturgical designers" and donors must recalibrate expectations for religious art -- it must be made to teach the faith as did the great sacred art of millennia past. Figurative art must be re-emphasized in order to speak in a universal language that all can read and learn from when they come to the church and thereby come across the art therein...

For example, what can one learn from abstract expressionist swishes and swoops that are very often erected in a Catholic church in the space where real(istic) Stations Of The Cross should be, or in all the modernistic stained glass that is wholly unitelligible? What kind of conversion of the heart can be inspired from confusion of the eyes?

And I would agree wholeheartedly with the comment that Catholic artists should be commissioned to do art for Catholic churches. Why do so many buy into the fallacy that transmittal of the Catholic faith via art can be done by artists who arent Catholic at all, or perhaps even militant atheists with deep contempt for Catholicism or faith in any form?

You may be able to tell that I am very interested in this subject of art for the Catholic Church. Through the grace of God, I have made a career switch and am now working as a mosaic artist in traditional Roman marble and Byzantine glass styles. I have recently completed 4 lifesize mosaic panels for a catholic church here in Houston featuring the 4 evangelists. I look forward to doing more, and there are irons in the fire across the southwest. We can do similar quality work for 1/3rd the cost of that done in Italy.

I read a good many books on Catholic art and architecture and would be interested in seeing a list of your favorites. Mine include Doorley, Rose, Armstrong, McNamara, etc...
Also am reading Couturier to see where it all started to go wrong...dont think I am yet strong enough to stomach reading any of Vosko.

I welcome your reply, and will also try to become a more frequent reader of your blog, but I cannot leave comments since I dont have google mail.

All the best, and I welcome your reply,

Catholic Brotherhood with the People of the Covenant

2008-02-04T08:57:00.000-08:00

Since the Last Supper the Catholic Church has been greatly influenced by our close cousins in faith the Jewish People. It is disturbing that in this era of theological reconciliation and ecumenical dialogue there is even a suggestion of anti-Semitism on the part of Catholics worldwide. Recently, Benedict XVI permitted the restoration of the Tridentine liturgy in the Church. There were anti-Semitic parts of the Good Friday liturgy prior to Vatican II. However since the reforms of the Second Vatican Council the Catholic Church has been instrumental in pioneering a new and restored relationship with the Children of Israel. Our Catholic liturgy now reflects the ancient relationship with the Jewish people as one of evolving theological revelation through both the Old and New Testaments and the secular events of the past two thousand years. Catholic-Jewish dialogue exists today in a social, cultural and theological environment quite different from the pre-Vatican II Church. Any suggestion that derogatory roots of our old misunderstandings and misinterpretations of theological beliefs between Catholicism and Judaism are just plain wrong, and need to be dispelled.
In the period since the Second Vatican Council, the Church has made great progress towards developing positive relationships with our Jewish cousins. John-Paul II was the first pope in history to visit the synagogue of Rome, he offered prayers and requested harmony at the Western Wall of the Temple in Jerusalem and proclaimed contrition on behalf of the Church for sins committed against the Jews. His successor Benedict XVI has visited the notorious concentration camp at Auschwitz, prayed at the synagogue in Cologne, Germany and repeatedly called for interfaith dialogue with all faithful peoples.
The speculation in the secular press that the permission to restore elements of the Tridentine Rite that implies a restoration of anti-Semitism is completely unfounded and just plainly erroneous. The Holy See has been quite clear in this message, and all Catholics should protest any suggestions that indicate the Holy Father suggests otherwise.
Our liturgical Liturgy of the Word has as its foundation the ancient synagogue services of Judaism in the first century a.d. The Liturgy of the Eucharist is rooted in the ancient celebration of the Passover meal. Our Catholic altars and even our tabernacles are based upon the sacred altar of the Temple of Jerusalem and the presence of God in the Old Testament, Holy of Holies. We Catholic are dedicated to a deepening understanding and participation in faith with the first called People of God more today than perhaps anytime since the Apostolic era.
It is our prayerful obligation and responsibility as both Catholics and Jews to work together in mutual cooperation towards a deeper relationship in faith between our 2 faiths. Any notion by the media or the secular press, or indeed any religious groups that the embers of anti-Semitism are freshly ignited in the Catholic Church are wrong. Lets all take this period of Lenten self-examination to realize the great common heritage we Catholic faithful and the Jewish people share in our profession of monotheism in light of both the Old and New Testaments.

Praying with icons...

2008-02-01T05:42:00.001-08:00

Icon of the Holy Trinity by Andrew Rublev circa 1425

Behold the Beauty of the Lord, Praying with icons, by Henri J.M.Nouwen
Published by Ave Maria Press, Notre Dame, IN.
www.avemariapress.com
The writings of Father Nouwen are treasuries for the modern Catholic that seeks to develop and maintain a deeper prayer relationship within the vast life of Catholicism. In one of his last books, Fr.Nouwen develops and probes into the developing relationship of prayer that is associated with four icons, that depict various religious subjects. He leads the reader to prayerfully rediscover the iconography of the Easter Church that has traditionally been overlooked by Western Catholics. In his very spiritual descriptions, the author expounds on many aspects of Catholic salvation history and how such a redaction of that history is quietly, yet loudly proclaimed in sacred art, especially Icons.
Icons that depict The Holy Trinity by Andrew Rublev (1425),The Icon of the Virgin of Vladimir , (anonymous Greek artist circa 1395),The Icon of the Savior of Zvenigorod by Andrew Rublev (circa 1440), and the Icon of the Descent of the Holy Spirit, ( anonymous Russian artist, circa 1450) are beautifully included in the body of this prayerful work so the reader might spiritually develop an understanding of the points made by Father Nouwen.
As always the writings of Father Nouwen, inspire all readers to embrace the call of spirituality that pervades our human nature. For us believers, especially in the West, the book presents a great collection of insights on the powerful spirituality that icons present as implements towards spiritual growth and development. This book is a must have for anyone that wants to develop a desire to do some spiritual reading in the midst of a hectic secular society.

...nothing like the Catholic art of a good baciamano!

2008-01-31T07:33:00.000-08:00

There are often many actions that are related to the traditional expressions of Catholicism. In the photo above, one notices a good old ecclesiastical baciamano , or a kiss of the hand. While the gesture is Italian in it’s origination…the actions has a loud and clear message as part of its action. Traditionally, the gesture is reserved for prelates of the Catholic Church as a sign of respect and obedience. Over the past couple of decades the action has in the United States been relegated to the status of a quaint pre-Vatican II custom.
The gesture is most appropriate when greeting the Bishop of Rome, as well as any of his representatives. Simply put…baciamano is an exceptional sign of fidelity and obedience to the teaching authority of the Church that is vested in Peter’s successor. As Catholic faithful believers, we are all called to offer genuine prayers and affection to Benedict XVI as the physical embodiment of the authority of the Church.
While the topic doesn’t have anything to do with Catholic Sacred Art…there is a real requirement of artistic development needed to properly complete the baciamo.
In all it is all about the art of proclaiming fidelity to our Catholic heritage and the truths embodied in the Successor of Peter.
Lets bring back the baciamano…it shows the Catholic art of respect and obedience!

2008-01-25T09:44:00.001-08:00

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...from East to West a perfect offering to the glory of His name!!!

2008-01-25T09:25:00.000-08:00

Most Catholics, especially American Catholics really don't think much about the religious art and architecture movement that exists in the Catholic Church today. For the most part, the weekly celebration of Eucharist that goes on in our parish communities is never really considered as the living expression of the Catholic Church's belief in Jesus Christ transformation of all human history. We are too busy fulfilling the obligation of Eucharistic participation and are incoherent to the vast artistic heritage that has reflected our exceptional faith since the Apostles. Perhaps some of this appreciation for the awesome mystery of the sacred is lost because of the 20th century desire to move away from religious expression and divine transcendence. Perhaps, it is the result of over zealous modernists that believed that in order to live a productive human life, the entire notion of liturgical worship and the ability of the human spirit towards transcendence was negated in our antiseptic attempts to rationalize God's Divine Being into examples of pragmatic and utilitarian architecture. Or perhaps, as is most likely, most believers really don't contemplate or actively seek a better comprehension of the mystery of God. Such a bleak perspective of human existence is something I am quite thankful is not part of my personal spiritual life.
Catholic worship through most especially it's Sacraments is extremely and acutely aware of signs and symbols of God's presence among us. Our Catholic Churches are living testimony to the living, growing and worshiping People of God that is assembled under its architectural and artistic arches. In the axiom of Saint Prosper...again and again the cry of, Lex Orandi, lex credendi is constantly heard in all of our sacramental and liturgical celebrations. We clearly pray as we believe in the Incarnational mystery of Jesus life, death and resurrection and our sacred spaces need to reflect our sacred attempt of prayer and adoration that reflects the glory of God.
There is a Renaissance of sorts going on throughout the Catholic world, that perhaps is not really revolutionary, but rather a realistic appreciation of our roots that reflects our historical, social and architectural roots. Recently, at the Sistine Chapel in Rome, the Holy Father celebrated the Liturgy of the Eucharist in the ad orientem, or to the East position, which echoed of a rich historical and liturgical heritage that was realized in Church architecture since antiquity. His actions, not only reflected the fact that the Eucharistic sacrifice was being offered in prayer, but acknowledged our long established appreciation for the transcendence of our sacred prayer, in the direction of the Rising sun, the East, the land of the Risen and glorified Jesus. Once again, the sign and symbol of this Eucharistic celebration was intended to clearly herald a message of liturgical and historical incorporation that the Church's art, architecture and even its sacred prayer is a reflection of the Paschal mystery of the Church, past present and future.
Our sacred spaces, our churches should not be considered as merely places of gathering or plain old assembly...they should be manifestations of the sacred presence that the Holy Eucharist offers to all believers that are awed by the power and majesty of God and his eternal mysteries. Far too often, our Catholic Churches are considered as "gathering spaces" and no appreciation of the awesome fact that..."et Verbum caro factum est et habitivat in nobis!" God dwells among us in our Catholic Churches in the Eucharistic species, and most importantly our Catholic Churches need to reflect this appreciation and understanding of the great gift of Eucharist Jesus presents daily to His Church.
The design and implementation of appropriate art and architecture in Catholic sacramental applications should most clearly illustrate our heritage that is rooted in the God of Abraham,with his sacred presence among us. Most importantly however, our sacred worship space should be a celebratory place of worship that calls the Catholic faithful to rich and solemn prayer.
It is especially significant that the trend of Church design has perhaps come to a more moderate perspective in terms of planning our sacred spaces. We are now enjoying a resurgence of the best points of design and artistic expression from both aspects of our liturgical heritage, the development of the Roman liturgy and enlightened incorporation of traditional art and architecture as part of our sacred celebrations. This movement significantly indicates to this author that there is a developing and growing appreciation of not only good liturgical expression through good liturgy; but also a resurgence of understanding of all of the signs and symbols available to enhance our sacred call to prayer.
Celebration of the Eucharist regardless of the orientation of the celebrant is the living prayer of a vibrant worshipping community, not just the ritual observation of a stagnant rite. Our celebrations and sacred worship rightly incorporates our artistic and ritual heritage into our Eucharistic celebration. There is a continuity that seems to be evolving among Catholic believers...namely that our worship of God is truly reflective of our entire spiritual and liturgical history. Such planning and design in our Church architecture is finally presenting an appreciation for the past and a pilgrim understanding of our present as it is revealed in our living and sacred future as the Kingdom of God continues to unfold.

Going "green" the microparish way!

2007-11-13T06:38:00.001-08:00

Call me old fashioned or even nostalgic but the Catholic Church has been going environmentally “green” for centuries. They are called “parishes.” Having grown up in the city of Philadelphia in the Irish-centric enclave called Gray’s Ferry…we were environmentally conscious and did not even know it. We walked to church, there was no need to drive to our parish church, it was only a few blocks over one way or the other. Not only did growing up Catholic in the city provide “eco-friendly” elimination of the need to use automobiles and consuming gas, it also contributed to the much advocated by physicians, the aerobic activity called walking. Even better, when walking to and from Church…we were usually with other individuals and we held conversations, which contributed even more to the entire well being of our solipsistic parish community were we all lived, prayed and went through life together.
Aside from the obvious need to cut down on our carbon footprints, perhaps the return to a structure that is central to a neighborhood is the more obvious adaptation that is needed in the Church. When Catholics exited the urban environment in the United States, they were caught in this misnomer that “bigger is better…even bigger is best….and biggest is well….the biggest and bestest.” Now of course we realize that the notion is not always true or beneficial to a parish community of prayerful intimacy within our parish communities. Liturgies are sometimes more like the weekly shopping frenzy at Wal-Mart, parish parking lots are jammed with single driver cars, traffic police and parish priest alike direct mobile confusion and there is a need to” get them in” and “get them out” before the next Mass.
When we think about parish planning and development of the manner in which the Catholic Church serves it’s communities…maybe it is time to take a retro look at the old neighborhood parish type of planning and structure. Additionally, perhaps as a society we should encourage architects and urban planners to look back and reconsider the positive aspects that “parish” and “neighborhood” settings offered to a community.
When we plan a parish community, perhaps it would be wise to develop a plan of “micro-parishes”, where the overall parish complex and overhead is more manageable for the community. Especially true is the need for a location for the Church that is within an ambulational distance from homes and work environments. This is perhaps where the dialogue needs to come into play. As we regentrify, or renovate our city areas the parish church is already a central focus to the neighborhood. It is the suburban communities that need to especially realize the benefits of Catholic micro communities as more beneficial to the entire spiritual and theological development of a Catholic parish.
Micro-parishes I suppose used to be called, “missions”, but there was a very pragmatic and sensitive aspect to the structure that made sense…namely…Don’t go overboard, and keep the parish structure manageable. Perhaps there would be a better response to our parish spirituality if the parish priests did not have to minister to the Mega-parish of 2500 families.
In the 21st century our Catholic Church is called to not only a spiritual, but also an ecological response to the worlds issues and crisis’. There is no better way to participate in the community of global faith than for the Catholic Church to embark on an ecological “skinny” plan to conserve and preserve resources, spaces and materials. As we plan new parishes, let’s use the best architectural planning to utilize all of our natural resources to the best advantages. Build parishes that are organically a part of the community and not just another structure that is inaccessible except with planes, trains or automobiles,and finally make our parishes ecologically responsible for the conservation of all resources especially those that are environmentally friendly.
Going green in a parish might mean the development of a neighborhood community garden, where parishioners might learn about the planting and consumption of health foods and vegetables. It also might mean planning our liturgies around cycles of “natural” light and not exploiting electricity or carbon fuels. Whatver it is means that the Church is called to good stewardship and preservation of natural resources and we need to begin on a local parish level.
The spread of Christianity was initially a “grass-roots” movement. Today more than ever the Church needs to recognize the need to return to spiritual, economic and social grass roots values so that our culture and environment might be preserved.

Visual arts includes Sacred Vestments

2007-09-09T17:01:00.000-07:00

It has really been a great experience watching the trip of the Holy Father in Austria over the past few days. The season of ordinary time is always quite, well,"green!" However the papal haberdasher seems to have whipped up quite a collection of liturgical vestments for the Holy Father to wear during this pilgrimage to a favorite Marian Shrine of the former Joseph Ratzinger.
The different colors of the liturgical vestments are intended to convey the message of the season in which they are worn...white or gold for the most festive of liturgical celebrations, red to indicate martyrdom or events that invoke the power of the Holy Spirit, purple for periods of penitence or days of fasting and on two days in the Church's Sacred celebrations the color rose or a light pink even comes into play. However when we see the various hues of the liturgical rainbow, most of us think in terms of the usual Crayola palette, and stay within the visual lines of the color chart.
It was however very rewarding to see the papal chasuble during the visit to Wien carry off in a very strong manner the combinations of chartreuse green and various blues to make the occasion really quite extra ordinary in terms of visual appreciation and brightness. The deacons in similar vestments matched with the papal chasuble, and even the mitre of the Holy Father was accentuated to "pull the whole thing together!" Quite successfully this author notes as well, because Sacred Liturgy is really an event that invites all of the senses, including the sense of visual perception and appreciation into active consideration of the Sacred Mysteries into which we are all drawn as participants and witnesses.
I have noticed in other places in the press, there has been quite a bit of conversation regarding some of the colors of the vestments worn by Benedict XVI. A few authors, well cited that they were not of the appropriate liturgical, "hue!" Well, a simple point that is forgotten here is that when the Bishop of Rome dons a particular color for celebration, his preference IS the appropriate liturgical "hue," of the day!
Besides, Benedict XVI was in my thoughts making all of us realize that even the color of "ordinary" time need not be ordinary!
In the same train of thought, parishes should spend allot of time considering the quality and visual presentation of all of the vestments worn by their priests and deacons in the celebration of the Sacred liturgy. Quite a bit of care and attention needs to be devoted to their purchase and maintenance, so that they might through an appreciation of the "fabric" arts act as a vehicle that draws us to liturgical worship through the signs and symbols of the liturgical seasons, and appropriate liturgical vestments.
Often, I have noticed there are parishes that really never pay attention to the artistic and materialistic quality of their liturgical vestments. This lack of attention to the details of the visual importance of color, as well as any detail to the historical significance as to the purpose of each and every liturgical vestment is unfortunate. Not only does the liturgy require quality in material's to house the community of faith, our celebrants should wear vestments that are befitting the dignity and importance of such a sacred celebration.
Vestments by themselves are signs that the actions taking place in our Eucharistic liturgy are sacred and significant, otherwise, simple everyday garb without any significance would be sufficient in the sacred celebration. Perhaps one of the aspect which we have lost in our modern existence is the distinctive garb that is traditionally associated with each specific profession. Unfortunately, our policemen do not always look the part, everyone remotely associated with the medical profession wears, "surgical scrubs", our images of people and their professions are not easily recognized by their clothing. The liturgy is and should be different. Our ordained ministers should wear liturgical garb that is symbolic of their role and ministry in the Church. Our parish liturgical committees also should be especially aware of the need for vestments and liturgical apparel that reflects high quality of craftsmanship and exquisite use of all available fabric materials.
The liturgy is a celebration of our faith in God and a participation in His Scared life. Our priests and ministers need to make sure they appropriately look the part and pay attention to details, such as the quality of presentation they each require when celebrating the Sacred Mysteries.

Sacred Art and architecture...getting back to the basics!

2007-09-03T07:50:00.001-07:00

Statue of Saint Padre Pio by artist Anthony Visco, Philadelphia. Statue is located in lower church of Saint John the Evangelist in Center-city Philadelphia.

Church art and architecture is a topic that seems to have been covered in every possible manner since the Renaissance. However, it seems to this author that there is a true need to cover and address the issues involved with the design and decoration of our Catholic Churches from a perspective of developing an American Institute for the Sacred Arts. The reason this “pet project” is so clear in my mind is simply because over the past 40 or so years since the liturgical changes of the Second Vatican Council so many important artistic and architectural examples of good design, both form and function have been inextricably mutilated, destroyed or adapted beyond Catholic recognition.
With that said, there should be always and everywhere a strong sense of sacred worship that envelopes our Catholic Churches and enables them to provide both spiritual sanctuary and liturgical practicality. At the same time there also needs to evolve or rather re-evolve in our Catholic art and architecture a new realization of the form and functions of our Sacred liturgies. Perhaps it is an easy task to reexamine our premises for the implementation of appropriate liturgical space because in general the Catholic Church in the United States has done such a terrible job in the past cultivating domestic artists and craftsmen as prayerful creative partners in this truly artistic and visual endeavor.
The message that clearly needs to be conveyed to bishops, priests and all faithful Catholics is simply this: Sacred spaces such as our Catholic Churches demand the highest artistic expressions of quality that a parish or Church community is able to afford and sustain. The design elements of Catholic Churches are also paramount in the thoughts and planning of our Catholic Churches. For the first part, they should reflect the unique needs of all of our Sacred liturgies. The altar should especially be of central focus to the Catholic assembly, and its placement and material composition should be of a nature that suggests to the believer the truly sacred and sacrificial nature of the actions happening on the sacred spot.
In light of the recent permission to celebrate the liturgy of Blessed John XXIII, there should be additional consideration when designing a Church that both the ordinary and extraordinary forms of the Sacraments might be celebrated in our Churches without any difficulty. In general, the sacred space that we call Church should adequately reflect and express our deepest religious convictions and historical progressions of our Catholic faith. What our Catholic Churches should not be are just as simple: they are not places for meetings, town hall gatherings, pseudo-liturgical activities or places of personal artistic expression. Our Churches are houses of God, where the Real Presence of Jesus in the Blessed Sacrament resides as an active presence in our daily lives.
One notion that frequently happens in the design and planning of a new Catholic Church is that there is a plan that at times does not take on the form of structural permanence. That is, areas are designed to provide multifunction spaces, where accessories can be rolled around and repositioned as the need or rather whim determines the need for the space. This bus stop architecture is exactly what needs to be part of our past, our departure from Modernism and post-Modernism architectural influences and foster a return to traditional art and architecture that applies the appropriate form and function to our Catholic Churches on a non-transitional basis. Our Catholic Sacred Spaces should not only stress an atmosphere of spiritual tranquility there should also be a sense of institutional permanence in the space that provides a local anchor to all of the activities of our Catholic spiritual journey, from Baptism right up to and including the Rite of Catholic Burial. Quite frankly, as an interested Catholic, I am quite exhausted trying to figure out where the Blessed Sacrament is reserved when I go to different parishes, tired of shuffling off children and noncompliant teenagers to “crying-rooms” and our artistic attempts to provide visual relevancy through all sorts of “busy” distractions brought on by, banners, artistic flyers, huge floral arrangements and mauve fabrics for the “pews”. It is time that we get back to basics in our Churches, place artistic quality and design into our planning and implementations of Catholic architecture.
Considerations need to be taken in Church design for the proper distribution of the Sacred Species of Bread and Wine in our Catholic Churches. Communion along the altar rail is no longer the accepted norm for the reception of Eucharist. It is advisable that Eucharist be received under both species as well. When we plan our liturgical worship space, we need to plan for the adequate flow of people that participate in the Sacred Liturgy and not just provide an opportunity for a liturgical traffic jam. Once again, form and function should always accompany our Catholic planning of architectural spaces.
When I think of art and architecture as well, I think of the proper utilization of artisans and craftsmen that reflect the Catholic Church in a specific area as well. While the temptation is strong to import craftsmen and materials from “old world” sources, such as Italian marble, or Spanish carved statuary, we need to be honest and upfront about the very talented artists and craftsmen that work in our own United States. Parish priests and parish planning committees need to pay particular attention to the details of whom and what will represent their new sacred space. Without a doubt, Catholic artists participate and share in a creative vocation to adorn our Catholic Churches. Preferably Catholic artists are also best suited, rather than non Catholic artisans to materialize a Catholic theme and appropriate perspective. Let’s not overlook the real need to commission artistic works for our Catholic Churches through fellow Catholics, who really participate in a unique artistic and creative manner in the expressions of our Catholic faith.
Finally, the distasteful word…money always needs to be considered. Most times we think that the commissioning of original artwork and qualitative liturgical designs are out of the price range for the average parish community. In an age where we glorify mass production and global distribution, it is easy to see why we sometimes think of “bigger is better”, “mass produced is cheaper” and “America does not make that stuff here”! However that is a misnomer. There are plenty of artisans and craftsmen here in the United States, perhaps even in your own parish or diocese that can qualitatively design, and construct any aspect of our Catholic liturgical accessories. Not only are these artists and craftsmen extremely capable and willing, they offer their own prayerful and Catholic experiences in the artistic representations they are called to create. Before going to the guilds of Italy or Spain for statuary or materials, we need to look within our own parish backyards for the artist right down the street and the parish over that can cast a bronze statue, carve a marble bust, paint a magnificent fresco or design a great mosaic…they are all here. We just need to look and find them.

New Blog on Sacred Art!

2007-08-24T10:52:00.001-07:00

A new blogsite to discuss Catholic Sacred Arts and Liturgical Arts.
All Catholic Artists are invited to submit materials for posting and publication.
This site is for sharing concepts, ideas and Catholic ideals as related to the implementation of Sacred Art directives as mandated by Vatican II.