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Views from the Choir Loft

Painting St. Catherine of Siena Part I

Gwyneth Holston · March 3, 2014

St. Catherine Initial Sketch St. Catherine Initial Sketch HERE WAS A particular scene depicted by Sigrid Undset in her biography of St. Catherine of Siena that struck me deeply. One day her father was about to interrupt her while she was at prayer in her room in order to remind her to do her work. He stopped when he saw her, however, because he witnessed the Holy Ghost in the form of a dove above her head.

After deciding to paint this image, I took the following steps:

Step 1: I sketched several compositions and selected the one with the most pleasing silhouette, color, and value scheme.

Step 2: I found a model who was willing and able to commit many hours of sitting for me on a regular basis.

Step 3: I selected the shade of blue that was most complimentary to the model’s skin tone and sewed her costume.

Step 4: I set up a location complete with background and props illuminated by north light.

Step 5: I stretched linen and prepared the surface for painting.

The painting is not yet finished, but I will be posting an image of the final work very soon. I wanted to share this process because most people don’t realize the difference in quality that can be attained between working from a photograph and working from life. It is far more difficult and much more of a hassle to do things this way rather than use Photoshop for a reference, but I believe that the results are worth it.


St. Catherine Girl Model for St. Catherine
St. Catherine costume St. Catherine of Siena Costume


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

Filed Under: Articles Tagged With: Traditional Catholic Artwork, Traditional Catholic Paintings 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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Quick Thoughts

Alabama Assessment!

We received this evaluation of Symposium 2022 from an Alabama participant:

“Oh, how the Symposium echoed the words of Cardinal Merry Del Val: …choosing only what is most conformed to Thy glory, which is my final aim. In one short and fast paced week, the faculty and attendees showed me the hand of God and our Lady working in our lives. The wide range of education—from Gregorian Chant, jazz modes in organ improvisation, to ‘staying sane’ while leading a choir—were certainly first-class knowledge from the best teachers of the art. However, the most powerful lesson was learning how to pray as a choir. The sacrifice of putting songs together, taking time to learn the sacred text, meditating on the church teaching through the chants, and gaining the virtues required to persevere in these duties were not only qualities of a choir but of a saint. The sanctification of the lives of the attendees was a beautiful outcome of this event … and that in itself is worth more than a beautifully-sung Solesmes style chant!”

—Jeff Ostrowski
PDF Download • Trinity Sunday (22 pages)

Feel free to download this Organ Accompaniment Booklet for Trinity Sunday (Second Vespers). Notice how the modes progress by number. Psalm 1 is mode 1; Psalm 2 is mode 2; Psalm 3 is mode 3; Psalm 4 is mode 4; Psalm 5 is mode 5. I am told by an expert that other feasts (such as Corpus Christi) are likewise organized by mode, and it’s called a “numerical office.”

—Jeff Ostrowski
10 June 2022 • “Official” rhythm of plainsong

I continue to search for the most beautiful way to present the “pure” Editio Vaticana scores. (Technically, the “pure” rhythm of the official edition is what everyone is supposed to use.) You can download my latest attempt, which is the Introit for this coming Sunday: Feast of the Most Holy Trinity. Because this is not an ancient feast, the Introit had to be adapted (perhaps around 750AD). Prior Johner says the adaptation is “not an entirely happy one.”

—Jeff Ostrowski

Random Quote

To end an impropriety, noticed particularly at orchestral Vespers, when two or three Psalms are sung with full orchestra, and then the other Psalms and the Hymn are rapidly hurried through with organ accompaniment only […] we order that at Mass all portions of the text, including “Agnus Dei,” be sung with orchestral accompaniment. […] Moreover, the musicians are not allowed to put the instruments away and leave their places before the conclusion of the sacred function.

— Cardinal Patrizi (18 November 1856)

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