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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

    14th Sunday in Ordinary Time (Year C)
    Our choir is on break during the month of July. However, on the feasts website, the chants have been posted for the 14th Sunday in Ordinary Time (Year C), which is this coming Sunday: 6 July 2025.
    —Jeff Ostrowski
    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

Quick Thoughts

    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

Random Quote

“We decided to entrust this work to learned men of our selection. They very carefully collated all their work with the ancient codices in Our Vatican Library and with reliable, preserved or emended codices from elsewhere. Besides this, these men consulted the works of ancient and approved authors concerning the same sacred rites; and thus they have restored the Missal itself to the original form and rite of the holy Fathers.”

— ‘Pope St. Pius V (Quo Primum, 1570)’

Recent Posts

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