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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.”

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Views from the Choir Loft

6th-Century Icon: God of Mercy and Justice

Fr. David Friel · October 15, 2017

ACRED ARTS have the power to communicate strong messages about both God and man. This is true of music, painting, and architecture, as well as many other arts. Recently, a beautiful icon from the first millennium (pictured at right), accompanied by a scholarly interpretation, caught my attention.

My encounter with this icon derived from studies I have been doing on the effect of liturgy upon self-understanding. Anthropologists have grown more and more interested over recent decades in analyzing this important role of religious ritual: the formation of the “liturgical self,” if you will.

In a 2014 book entitled Liturgical Subjects: Christian Ritual, Biblical Narrative, and the Formation of the Self in Byzantium, Derek Krueger explores the self-understanding that was encouraged among participants in Byzantine liturgy from the sixth century to the turn of the eleventh. One of his most central theses is that Byzantine liturgy of this time period produced a strongly introspective conscience, resulting in a lively conception of the self as sinful, yet still able to be saved. This assertion challenges the common narrative that Augustine and the subsequent Christian West were chiefly (or exclusively) responsible for forming a pervasive, penitential self-understanding among Christians.

The Byzantine liturgical subject, according to Krueger, was formed in the tension between two gazes. The first gaze is the subject’s inward vision of his or her own self. The second gaze is that of the all-seeing God. This divine gaze is characterized both by judgment and compassion, reflecting both the virtue of justice and the virtue of mercy.

In this context, Krueger presents a thoughtful reflection on the symbolism of this striking, sixth-century icon at the Holy Monastery of Saint Catherine in Sinai, Egypt. The author presents this reading of the Christ Pantocrator icon:

His right hand blesses the viewer, while his left holds a jeweled Gospel Book. His body is at once in motion and at rest. The slope and angle of his shoulders suggest that Christ has just shifted his attention toward the viewer. His face looks directly out. On the left side of Christ’s face—the viewer’s right—the brow knits as the eye narrows and the face darkens in shadow; the corner of the lip turns down in a scowl. The God of judgment looks out in wrath. But on the right side of his face, Christ’s expression lightens and his mouth relaxes. His eye wells up with a compassionate tear. Intimately, the image presents Christ as God of justice and mercy, both scolding and comforting the viewer. It forms viewers as subjects of the divine gaze. (Krueger, Liturgical Subjects, 26-28)

N MODERN times, the notion of God as merciful has grown much more popular than the notion of God as just. Both aspects of the divine countenance, however, are essential for a correct understanding of God, of ourselves, and of our relationship to Him. Perhaps this icon could serve to renew appreciation for God’s justice and mercy in the world today.

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

Filed Under: Articles Tagged With: Byzantine Liturgy, Traditional Catholic Artwork Last Updated: January 1, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    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’ regarding the 1960s switch to a wider use (amplior locus) of 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

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

“The revision of the liturgical books must carefully attend to the provision of rubrics also for the people’s parts.”

— The Second Vatican Council (SC §31)

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