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“A much greater source of anxiety to Us is the style of action of those who maintain that liturgical worship should shed its sacred character, who foolishly say we should substitute for sacred items & furnishings ordinary common things in daily use.” —Pope Saint Paul VI (14 Oct 1968)

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Views from the Choir Loft

Good King Wenceslas Looked Out When?

Gwyneth Holston · December 23, 2013

GWYN_stephen Bernardo Cavallino, “Martyrdom of St. Stephen.” c. 1645. Oil on canvas, 70 cm x 90 cm.

HE FEAST DAYS following Christmas all recognize rather bloody saints. According to Dom Gueranger’s Liturgical Year, “The ones we see standing round the Crib of our Jesus are Martyrs: Stephen, overwhelmed with the shower of stones; John the Martyr in heart, who survived his fiery torture; the Holy Innocents, massacred by the sword; Thomas, murdered in his cathedral; these are the champions of Christ, who keep guard in the palace of Bethlehem.”

I never understood why so many martyrs were recognized during Christmastide until I read Dom Gueranger’s intriguing meditation. He writes, “Jesus, whilst still continuing to be the eternal God, assumed to himself the lowly raiment of flesh, and entered the battle-field of this world; Stephen, laying aside the perishable garment of the body, ascended to the palace of heaven, there to reign for ever.”

GWYN_stephen square Gueranger continues, “…Martyrdom is the creature’s testimony and return to his Creator for all the favours bestowed upon him: it is Man testifying, even by shedding his blood, to the truths which God has revealed to the world.”

Reading these words gave me new eyes to appreciate the painting of St. Stephen by Bernardo Cavallino. In Cavallino’s version, the things of this world are already fading into darkness for St. Stephen. His eyes no longer perceive his aggressors, instead they are directed heavenward. We cannot see what he sees, but his intensely scarlet dalmatic gives us an inkling of the heavenly raiment which he will soon don.

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 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.

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Corpus Christi Watershed

President’s Corner

    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —Jeff Ostrowski
    Music Director Job • $80,000 per year
    Our readers will be interested in this job offering for Music Director at Saint Adalbert’s Basilica, located 40 minutes from where I live. My pastor was recently elevated to this basilica. He is offering $80,000 per year, plus benefits. I’m told Saint Adalbert’s Basilica is utterly gorgeous and contains one of America’s most magnificent pipe organs. It would be fantastic to have a colleague nearby!
    —Jeff Ostrowski
    Simplest “Agnus Dei” Ever Published
    Our choir is on break during the month of July. I needed a relatively simple “Agnus Dei,” so I composed this setting for organ & voice in honor of Saint René Goupil. It has been called the simplest setting ever composed. I love CARMEN GREGORIANUM (“Gregorian Chant”), especially the ALLELUIAS, INTROITS, and COMMUNION ANTIPHONS. That being said, some have pointed out that certain sections of the Kyriale aren’t as strong as the Graduale or Vesperale. There’s a reason for this—but it would be too complicated to explain at this moment.
    —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

Benedict XVI in particular felt it was wrong to prohibit the celebration of Mass in the ancient rite in parish churches, as it is always dangerous to corner a group of faithful so as to make them feel persecuted and to inspire in them a sense of having to safeguard their identity at all costs in the face of the “enemy.”

— Archbishop Georg Gänswein

Recent Posts

  • “How to Conduct 90 Vespers Services Each Year and Live to Tell the Tale.”
  • 15th Sunday in Ordinary Time (Year C)
  • The Tallis Scholars
  • Music Director Job • $80,000 per year
  • Pope Saint Paul VI to Consilium (14 October 1968)

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