Do You Like This Painting or Not?

Gwyneth Holston · January 27, 2014

HE PAINTING BY Jean Paul Laurens (1838 – 1921) St John Chrysostom and the Empress Eudoxia has always intrigued me, but I can’t tell whether or not I really admire it. On one hand, its golden glow is terribly attractive. The empress is as lovely as a statue in her niche. I especially like the juxtaposition of St. John Chrysostom’s white robe against the pulpit and his tensed fingers silhouetted against the background. I also like the sense of space that can be glimpsed just behind the Empress.

On the other hand, the overall geometry of the painting consists of a rather strange dialogue between a semicircle and a triangle. Does it composition really convey they meaning of the event? I find it worrisome that Saint John Chrysostom comes off as somewhat hysterical and the empress poised in comparison.

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.

“Daily I sat in the temple, close to you…”

Fulton J. Sheen always said the “very best translation” of Sacred Scripture was the version by Monsignor Ronald Knox, and here’s what Knox had for the Passion read today (Pre-1955 Palm Sunday): “And Jesus said to the multitude at that hour, You have come out to my arrest with swords and clubs, as if I were a robber; and yet I used to sit teaching in the temple close to you, day after day, and you never laid hands on me.” (Mt 26:55)

Did you catch that? Our Lord sat close to them! He was near them! The Second Person of the Blessed Trinity touched them, and was friendly toward them! Truly, the people who can hurt us the most—and betray us the most—are those whom we have loved.

—Jeff Ostrowski

Sacred Music Symposium • “What We Avoid”

I wish we had to time to discuss artwork at the Sacred Music Symposium, but there’s just not enough time. At this year’s conference in June, we will sing an absolutely incredible Magnificat setting by Father Francisco Guerrero (d. 1599). If you examine the part books, you will notice a marvelous aesthetic desire to avoid the same capital letter—for the sake of beauty. Do you see how the Part Books find a way to avoid repeating the Capital G twice, by using the word “Superius” (which is roughly analogous to “Soprano”)? Breathtaking!

—Jeff Ostrowski

“Abraham” • Guerrero Imitates His Teacher

Father Francisco Guerrero (d. 1599) studied music with Father Cristóbal de Morales circa 1545. He taught himself the organ. On 3 April 1542 he was engaged as a contralto by Seville Cathedral at an annual salary of 12,000 maravedís. He remained there until 1546, when, at the age of only 17, he was invited—on the recommendation of Father Morales—to become mæstro de capilla of Jaén Cathedral. He was entrusted with the boarding, lodging, and instruction of the six choirboys; but he neglected this duty and was sentenced to be dismissed on 30 August 1548. However, he was absolved and reinstated on 3 November. I think you can see (perhaps) a little homage to his teacher on the word “Abraham.”

—Jeff Ostrowski