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.

Could Pope St. Pius X Sing?

“On 12 March 1908, the complete publication of the Roman Gradual was issued by the Vatican Press. On that very day, Dom Pothier solemnly presented the first copy to the Holy Father. A witness of the audience says that Pius X wished to be the first to see the new book; he opened it at random, at page 128 of the supplement pro aliquibus locis—it was the Introit of the new Feast of Our Lady of Lourdes. The Pope sang it with perfect taste to the last note.” (Catholic Choirmaster, February 1915)

—Jeff Ostrowski

Julius Bas Accompaniment

A very prolific harmonizer of Gregorian chant in the early 20th century was Mr. Julius Bas. He often uses a very strange technique, wherein he employs rests to eliminate the Alto, Tenor, and Bass voices. Consider what he did with “Lumen ad revelationem” here:

* JPEG • Lumen ad revelationem

It seems quite lazy, and I’ve never seen anyone else use such a technique, although Dr. Peter Wagner often switched to parallel octaves when he ran out of ideas… (Yuck!)

—Jeff Ostrowski

Hitting wrong notes

Fr. Valentine Young, OFM, used to say: “The organist can play 1,000 correct notes and one wrong note—and the only thing people will care about is the wrong note.” Last Sunday I hit some wrong notes, and felt bad. Then I remembered a story about Rudolf Serkin and started to chuckle. Charles Rosen (or was it Leon Fleisher?) told the story of Serkin playing a Beethoven Sonata in front of a large audience. The theme is all in octaves; but Serkin hit some wrong notes, and played parallel 7ths instead. This so unnerved him that every time the theme returned, he played the entire thing in parallel 7ths! We must remember that even the greatest hit wrong notes. Alfred Cortot, Vladimir Horowitz, Wilhelm Backhaus, Edwin Fischer, Sviatoslav Richter, Egon Petri—they all hit wrong notes, which we can hear on recordings. (Josef Hofmann was an exception, but he was super-human so he doesn’t count!)

—Jeff Ostrowski