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Corpus Christi Watershed

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

    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski
    “Music List” • 30th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 26 October 2025, which is the 30th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the top-notch feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    Little Encouragement?
    In the Gospel, our Savior tells about 10 lepers who were healed. Only one went back to give thanks. Precious few express gratitude, yet many have endless energy to complain. For that reason, I deeply appreciate receiving messages like the following, which arrived a few days ago (about the parish where I direct in Michigan): “Last Sunday, a couple I knew from Grand Rapids was at Mass at 10:00 a.m. I got a chance to talk to them after Mass. I wanted to let you know what they said about the choir. They were absolutely floored by our sound!!!!! They both said they could continuously listen to our choir and the beauty of it. They asked me: “Do you always sound like that?” And they were also very surprised at how packed the church was. They said it was nice for them to be in such a full church. I just thought you would be interested to know their thoughts about our choir.”
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —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
    “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

Random Quote

“Another cathedral functionary, a compañero named (coincidentally!) Francisco Guerrero, departs for the New World sometime before June 8, on which date the benefice held by him comes up for a split among three former choirboys whose voices have changed.”

— Chapter Resolution: 14 February 1562

Recent Posts

  • PDF Downloads • Four (4) Simple Pieces in Harmony for Men’s Choirs
  • Typo in the “Missale Romanum” (1962)
  • “Music List” • 30th in Ordinary Time (Year C)
  • “Our Father” • Musical Setting?
  • Little Encouragement?

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