• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

The Informed Aesthetic

Gwyneth Holston · October 31, 2013

246 f1 Figure 1 VERYONE HAS the responsibility to cultivate an informed aesthetic. Just as an informed conscience is built on the natural law written on our hearts, an informed aesthetic should be built on the natural aesthetic we are born with. Certainly we can agree that a sunset is beautiful, but only an intelligent appreciation for craftsmanship and poetry will allow us to judge whether the painting of a sunset is beautiful. Alice von Hildebrand wrote in the latest issue of Latin Mass Magazine (“Dietrich von Hildebrand Unified by Truth, Goodness, and Beauty Part II,” Vol. 22, No. 3, Fall 2013), “How right Plato was when he said that a child exposed to beauty will, later in life, instinctively reject anything ugly or vulgar.” We must surround our children and ourselves with beauty so that we may have an ordered response to the world around us.

According to 19th century art critic John Ruskin, “He who has followed up these natural laws of aversion and desire, rendering them more and more authoritative by constant obedience, so as to derive pleasure always from that which God originally intended should give him pleasure, and who derives the greatest possible sum of pleasure from any given object, is a man of taste.” In other words, it is to our own benefit that we cultivate an appreciation for art. The joy derived from encountering the visual arts becomes deeper and more nuanced as we grow.

It is especially important for Catholics become fluent in art because it is a universal language of the Church, subordinate only to Latin. The symbolism of various colors and motifs is remarkably consistent over the history of the Church yet endlessly fascinating because it is embellished by every culture and every epoch touched by the Gospel.

Reflect upon the symbol of the goldfinch. Because it eats thistle seeds, it is traditionally associated with Christ’s passion. Raphael placed this small bird in the hands of St. John the Baptist and the Christ child in his painting Madonna of the Goldfinch (figure 1). Via this poetic device, the viewer can intimate the love that Christ has for His cousin, and by extension all of humanity, as He willingly reaches for the suffering that is offered to Him. Mary places a gentle hand on St. John’s plump shoulder as the exchange takes place. It is with her patience and resignation that we must embrace our own sufferings. Without an understanding of the meaning of the goldfinch, the painting is reduced to a charming yet superficial group of figures in a landscape.

246 f3 Figure 3 — Click to Enlarge THE ARTIST DOES NOT simply take a snapshot of the physical world. Instead, he acts as a lens through which the eye is focused. Let us consider one of the most important metaphors within all of art: light. Analyzed and discussed by both physicists and theologians, the problem is left to artists to bring the physical and spiritual worlds together.

Rogier van der Weyden understood the importance of light. This master of the Northern Renaissance created paintings that glow like jewels. This is due to the fact that he painstakingly applied layer after layer of transparent glazes. If we examine a ray diagram (figure 2), it is evident that a transparent layer of varnish effectively “captures” an angled ray of light and compels it to strike the paint surface again and again, thus heightening the effect of illumination on the surface of the painting. Van der Weyden’s love of light was not only limited to his meticulous technique. He also showed his affection for and understanding of light in the details he represented. Each and every tear wept by those at the foot of the cross includes a reflection, a cast shadow, and even the light refracted within (figures 3 and 4).

I think that it is only after appreciating the physical properties of light that we can understand it within the context of supernatural metaphor. In its broadest sense, it is only by divine illumination that beauty can be perceived. Anyone who creates or considers art must always have the words of Christ before him, “I am the light of the world: he that followeth me, walketh not in darkness, but shall have the light of life” (John 8:12).

246 f4 Figure 4 — Click to Enlarge When I ask people for their opinion on a particular work of art, I often hear the response, “I’m not really an artsy person.” Most people don’t feel “qualified” to give their opinion on artistic merit. I wonder if this avoidant answer is due to the fact that our modern world glories in specialization. By middle school, most children have self-identified as “bookish” or “athletic” or “a math person.” The problem with embracing such a narrow label is that it gives the individual permission to be perfectly ignorant of everything beyond his chosen scope. It is a stance that is both simplistic and lacking in balance in our complex world.

Anyone can learn the basics of art history and art theory which provide the groundwork for an informed aesthetic. To begin developing a formed aesthetic immediately, go to your local library and check out one art book. Visit an art museum on a free day. Pause for a moment at a particularly lovely illustration in your missal. Just as beauty of Gregorian chant reveals itself neume by neume, the enchantment of art reveals itself picture by picture. If we allow the power of beauty to penetrate our hearts, God knows what we will begin to see.

Suggested reading:

The Story of Painting by Sister Wendy Beckett

The Classic Point of View by Kenyon Cox

Twilight of Painting by R. H. Ives Gammell

History of Art by H.W. Janson

The Lives of Artists by Vasari

Treatise on Painting by da Vinci

“The Decay Of Lying – An Observation” essay by Oscar Wilde

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

Filed Under: Articles Last Updated: January 1, 2020

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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.

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    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’ with regard to 1960s switch to vernacular in the liturgy.
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th 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 spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —Jeff Ostrowski

Quick Thoughts

    “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
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“Even after 1600 A.D.—despite major changes in musical taste—the compositions of Father Cristóbal de Morales were reprinted at Venice. Indeed, and as late as 1619 A.D. one Venetian publisher found his magnificats still in sufficient demand to make a profitable commercial venture out of issuing a new transcribed version for equal voices.”

— Dr. Robert Murrell Stevenson (d. 2012)

Recent Posts

  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)
  • “American Catholic Hymnal” (1991)
  • Involving Women in the Communion?
  • “Toward a More Sacred Style With Pastoral Charity” • Guest Article by Dr. Myrna Keough

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.