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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Patron Saint of Artists

Fr. David Friel · October 18, 2013

HE PATRON SAINT of butchers, brewers, bookbinders, and bachelors. Also of lacemakers, notaries, and Hermersdorf, Germany. But, most importantly for our purposes, Saint Luke the Evangelist is the patron saint of artists, painters, and sculptors.

Tradition holds that St. Luke painted this image of our Lady around AD 60, when Mary had gone to live with St. John the Evangelist. Luke supposedly made a visit and wrote the icon on a cedar plank from a table Jesus had built for the Holy Family’s home in Nazareth.

Had he not authored the third Gospel and the Acts of the Apostles, St. Luke would likely be a little-known figure to us. He is mentioned only three times in the New Testament (Philemon 24; Col 4:14; 2 Tim 4:11). We know that Luke was born of a pagan family in Syria and that he was a doctor with medical training. It is also clear from the Scriptures that St. Luke never met Jesus Christ in person. Luke apparently came to faith through the preaching of St. Paul, with whom he traveled.

This makes Luke, I think, a great model for us moderns, who are all in the same boat. Sure, we have the Real Presence of Christ with us in the Eucharist. But none of us had the opportunity to walk the roads of Galilee with Jesus of Nazareth. We have all come to faith through another person—perhaps our parents, or a friend, or an inspiring preacher.

Although St. Luke never saw the Lord face-to-face, he also never used that as an excuse to be less of a disciple. Sometimes, we feel like the Apostles had an advantage. We think it would be easier to have faith if we could spend three years traveling around the Holy Land with our Lord, watching him perform miracles and healings. But Luke seemed not to consider himself at a disadvantage.

Luke accepted his call to be an Evangelist, writing icons and even a Gospel that became one of the four major means by which all of history would come to know Jesus Christ. We must do the same. We must become evangelists for those around us, testifying with joy to the faith we have in Christ.

Perhaps we may evangelize through the written word, or even through artistry, painting, or sculpture. St. Luke, pray for us!

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

Filed Under: Articles Last Updated: January 1, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed
    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski

Random Quote

“Ordained a diocesan priest on 7 October 1827, Guéranger was quickly named a canon (a member of the cathedral chapter of Tours). Around 1830, he demonstrated his interest in the liturgy when he began to use the Roman Missal and texts for the Divine Office, unlike many of his colleagues, who still made use of the diocesan editions commonly in use in pre-Revolutionary France.”

— Source unknown

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