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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

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.

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

    PDF Download • “Atténde Dómine”
    Although it isn’t nearly as ancient as other hymns in the plainsong repertoire, Atténde Dómine, et miserére, quía peccávimus tíbi (“Look down, O Lord, and have mercy, for we have sinned against Thee”) has become one of the most popular hymns for LENT—perhaps because it was included in the famous Liber Usualis of Solesmes. This musical score (PDF file) has an incredibly accurate version in English, as well as a nice version in Spanish, and also the original Latin. Although I don’t claim to have a great singing voice, this morning I recorded this rehearsal video.
    —Jeff Ostrowski
    Music List • (1st Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I’ve prepared for this coming Sunday—22 February 2026—the 1st Sunday of Lent (Year A). 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 available at the outstanding feasts website alongside the official texts in Latin. I spent an enormous amount of time preparing this ORDER OF MUSIC—because the children’s choir will join us—and some of its components came out great. For example, the COMMUNION ANTIPHON with Fauxbourdon is utterly resplendent, yet still ‘Lenten’.
    —Jeff Ostrowski
    2-Voice Arrangement for Lent
    Those seeking a two-voice arrangement for LENT and PASSIONTIDE should click here and scroll down. It’s based on number 775 in the Brébeuf Hymnal, with an enchanting melody written by Kevin Allen (the legendary American composer of sacred music). That text—“Pendens In Crucis Cornibus”—is often used for the Feast of our Lady of Sorrows. That link is important because, in addition to the musical score, it provides free rehearsal videos for each individual voice: something volunteer choirs appreciate!
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (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
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“In chronological order, [Dom Pierre Combe] traces the Gregorian reform from its beginnings under Dom Guéranger in 1833, to the problems of the Vatican Commission on Sacred Music in the first decade of the 20th century. As one reads the topic headings and development of their content, one wonders how such an innocent and un-warlike subject such as Gregorian chant could have been the focal point of such an intense and continuing battle among scholars and churchmen for so many decades.”

— Dr. Theodore Marier (1968)

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