• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
    • “Let the Choir Have a Voice” (Essay)
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

Liturgical Custody of the Eyes

Fr. David Friel · March 10, 2020

HEN I first became a priest, I experienced a great temptation to maintain eye contact at many points during the celebration of the Mass. I had practiced the art of making eye contact in many other contexts, such as public speaking and various types of performances. It felt only natural to apply what had been learned through those experiences to my new role as a priest.

Not long after ordination, however, it began to feel less natural. As I grew into the role of speaking publicly to God the Father and leading the parish community in prayer, it became more apparent to me than ever before that eye contact is not always a virtue. I found that—like all the other gestures of the priest during the liturgy—the use of my eyes was a true means of communication. But what was I communicating?

To be clear, I do not suggest that priests should fashion an idol out of making no eye contact whatsoever during the celebration of the Mass. I have witnessed this very thing on a few occasions, and it has been counter-productive. What I do recommend is more modest, namely that priests should learn from the wisdom of our own tradition, which calls for a certain discipline with respect to our eyes at Mass. The fruit of this discipline, when practiced well, is increased devotion and love for God, among both priests and people.

ORAL theology teaches us to maintain custody of the eyes (custodia occulorum) in daily life. All of our human senses require a measure of control, and the sense of sight is no exception. Keeping guard over one’s eyes is certainly a praiseworthy practice for avoiding sin, but it is also more than that. It is a beneficial way to focus one’s attention on the thing at hand, and, ultimately, it is a path toward centering one’s love on God, Himself. The distinction between avoiding sin and loving God, of course, is more a matter of perspective than an essential difference. To avoid sin, in other words, is to love God; loving God, likewise, entails the avoidance of sin.

Practiced rightly, custody of the eyes helps us to look past surface appearances and into the depths of the heart. In this way, we become more like God, Who once spoke to Samuel in the context of choosing David as king of Israel: “The LORD sees not as man sees; man looks on the outward appearance, but the LORD looks on the heart” (1 Sam 16:7, RSV).

We ought to strive after this ideal in the way we use our sense of sight at all times. It should be our desire to catch this higher vision, above all, during the sacred liturgy.

HE RUBRICS of the Extraordinary Form of the Roman Rite specify where the eyes of the priest should be cast at many points during the Mass. When he processes to and from the altar, for example, his eyes are to be cast downward. His eyes are to be directed toward the sacred host on the corporal during the first minor elevation, the Memento of the Dead, the Pater noster, the prayers before the priest’s Communion, and whenever he is handling the host following the consecration.

Perhaps most interestingly, these rubrics dictate nine moments at which the priest is to raise his eyes to the cross. They are as follows:

1. Before the Munda cor meum (preparation for the Gospel)
2. Before Suscipe, sancta Pater (offering of the host)
3. During the entire Offerimus tibi (offering of the chalice)
4. At the words Veni, sanctificator (during offertory)
5. Before Suscipe, sancta Trinitas (during offertory)
6. At the words Deo nostro in the Gratias agamus (preface dialogue)
7. Before the words Te igitur (beginning of canon)
8. At the words elevatis oculis in caelum (before consecration of the host)
9. At the words Benedicat vos (final blessing)

Expounding upon these rubrics as they apply to the Missale Romanum 1962, O’Connell has this to say:

By the raising of the eyes, the celebrant, following the example of our divine Lord, more expressly directs his prayer of offering, thanks, or petition to God; and so his eyes are to be raised . . . to the image of the Crucified. This image, if the altar cross be in accordance with the rubrics, will ordinarily be higher than the six large candlesticks, so that the priest, in looking at it, will look heavenward (as Ritus VIII, 4 and XII, 1 expressly enjoins). Should the cross, however, contrary to the prescriptions of the rubrics, be a very small one, or set low down, the celebrant should raise his eyes above it, so as more obviously to direct them ad Deum, ad caelum. If, on the other hand, the cross be very high, it suffices to look towards it; the celebrant should not throw his head back to look at the image of the Crucified. (J. B. O’Connell, The Celebration of Mass: A Study of the Rubrics of the Roman Missal [Milwaukee: Bruce, 1964], 195)

The cross is central to our Catholic faith, and its centrality is ritualized and concretized by these rubrics of the Extraordinary Form.

Experience has taught me that the discipline of guarding my eyes during the celebration of the Mass is beneficial for my own prayer and for that of the faithful. It is the sort of healthy rigidity that, far from diminishing the human quality of liturgical celebration, facilitates our approach to the divine and conduces to our spiritual growth.

HE PROCESSES of mutual enrichment have not, as yet, taken any official form. In the meantime, however, the General Instruction of the Roman Missal (GIRM) includes a very important admonition:

The gestures and bodily posture of both the Priest, the Deacon, and the ministers, and also of the people, must be conducive to making the entire celebration resplendent with beauty and noble simplicity, to making clear the true and full meaning of its different parts, and to fostering the participation of all. Attention must therefore be paid to what is determined by this General Instruction and by the traditional practice of the Roman Rite and to what serves the common spiritual good of the People of God, rather than private inclination or arbitrary choice. (GIRM, #42)

My argument here is simply this: priests would do well to be less arbitrary in their choices concerning eye contact and more informed by the GIRM and the traditional practice of the Roman Rite. This would go a long way towards fostering that participation of mind and heart which the Liturgical Movement so earnestly encouraged.

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

Follow the Discussion on Facebook

Filed Under: Articles Tagged With: Extraordinary Form 1962 Missal, Mutual Enrichment, Participatio Actuosa, Traditional Latin Mass Last Updated: May 2, 2020

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    Simplified Accomp. • Schubert’s “Ave Maria.”
    Sometimes the organist must simultaneously serve as the CANTOR. (Those who work in the field of church music know exactly what I’m talking about.) One of our contributors composed this simplified keyboard accompaniment for Franz Schubert’s “Ave Maria,” a piece which is frequently requested for Catholic funerals and weddings. In terms of the discussion about whether that piece is too theatrical (‘operatic’) for use in Church, I will leave that discussion to others. All I know is, many church musicians out there will appreciate this simplified version.
    —Jeff Ostrowski
    “Reminder” — Month of April (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    Simplified Accompaniment (Easter Hymn)
    Number 36 in the Brébeuf Hymnal is “At the Lamb’s high feast we sing,” an English translation for Ad Cenam Agni Próvidi (which was called “Ad Régias Agni Dapes” starting in 1631). As of this morning, you can download a simplified keyboard accompaniment for it. Simply click here and scroll to the bottom. Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult—which explains why choirmasters appreciate these simplified keyboard accompaniments. Sadly, many readers will click that link but forget to scroll to the bottom where the simplified PDF file is located.
    —Jeff Ostrowski

Quick Thoughts

    PDF Download • “Anima Christi”
    I received a request for an organ accompaniment I created way back in 2007 for the “Anima Christi” Gregorian Chant. You can download this PDF file which has the score in plainsong followed by a keyboard accompaniment. Many melodies have been paired with “Anima Christi” over the centuries, but this is—perhaps—the most common one.
    —Jeff Ostrowski
    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski

Random Quote

Goupil deserves the name of martyr not only because he has been murdered by the enemies of God and His Church while laboring in ardent charity for his neighbor, but most of all because he was killed for being at prayer and notably for making the Sign of the Cross.

— St. Isaac Jogues (after the martyrdom of Saint René Goupil)

Recent Posts

  • PDF Download • Ascension “Entrance Chant”
  • Every Artist Needs a Refuge
  • Simplified Accomp. • Schubert’s “Ave Maria.”
  • “The Unselected Hymn” • Do You Recognize It?
  • 2026 Sacred Music Pilgrimage (Washington DC) • With Richard J. Clark

Subscribe

Subscribe

* indicates required

Copyright © 2026 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.