Views from the Choir Loft

Hans Memling’s Masterpiece: The Last Judgment

Gwyneth Holston · November 25, 2013

HE PROPERS for Advent provide us with ample opportunity for contemplating the Last Judgment.

Hans Memling, a leading painter of the Northern Renaissance, painted a spectacular representation of the Last Judgment in 1467. He shows Christ atop a rainbow as St. Michael weighs souls according to the scales of justice. Justice and Mercy emanate from Christ’s being in the form of a lily and a flaming sword. Angels flit overhead in the central panel carrying the instruments of Christ’s passion. (Please click on the images to view them larger.)

IN THE DISTANCE, we see the dead crawling out of their graves only to be fought over by angels and devils. On the right panel, the damned are dragged into flames by demons. On the left panel, the just are greeted by St. Peter and receive their garments as they enter heaven. A closer examination of the left panel reveals all sorts of wonderful details about Memling’s heaven. The souls of the just enter via the main portal of a gothic cathedral under a frieze of God the Father creating Eve from Adam’s rib. Angels sing and play instruments from the roof and toss flowers down on the faithful souls that process into heaven.

This is the gospel for the 1st Sunday of Advent:

Luke 21:25-33 At that time, Jesus said to His disciples: There shall be signs in the sun, and in the moon, and in the stars; and upon the earth distress of nations, by reason of the confusion of the roaring of the sea and of the waves: men withering away for fear and expectation of what shall come upon the whole world. For the powers of heaven shall be moved; and then they shall see the Son of man coming in a cloud with great power and majesty. But when these things begin to come to pass, look up and lift up your heads, because your redemption is at hand. And He spoke to them a similitude: See the fig tree, and all the trees; when they now shoot forth their fruit, you know that summer is nigh; so you also, when you shall see these things come to pass, know that the kingdom of God is at hand. Amen I say to you, this generation shall not pass away till all things be fulfilled. Heaven and earth shall pass away, but My words shall not pass away.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

About Gwyneth Holston

Gwyneth Holston is a sacred artist who works to provide and promote good quality Catholic art. Her website is gwynethholston.com. Read more.

Bugnini’s Statement (6 November 1966)

With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.

—Jeff Ostrowski

Luis Martínez Must Go!

Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]

—Jeff Ostrowski

Urgent! • We Desperately Need Funds!

A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!

—Jeff Ostrowski

Pope Pius XII Hymnal?

Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.

—Corpus Christi Watershed

“Hybrid” Chant Notation?

Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.

—Corpus Christi Watershed

Antiphons Don’t Match?

A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).

—Corpus Christi Watershed