Views from the Choir Loft

Sacred Architecture

Exploring the 5th/6th-Century Mosaics of Ravenna

Fr. David Friel · February 23, 2020

These magnificent images are not only attractive to behold, but also deeply theological.

Imposing the Classical Style on Public Building Projects?

Fr. David Friel · February 17, 2020

A rumored executive order would unify the architectural style of future projects and upgrades.

The Gratuity of Beauty

Fr. David Friel · November 9, 2019

Thoughts on the Feast of the Dedication of the Lateran Basilica

This Is a Cathedral, Not Disneyland

Fr. David Friel · September 15, 2019

Several English cathedrals hosted peculiar amusements this summer.

Sacred Architecture and Brexit

Fr. David Friel · February 17, 2019

A connecting link in the form of Gothic cathedrals

On the Spirit of Conservation

Fr. David Friel · August 28, 2016

A Reflection on the National Parks, Sacred Architecture, and “Laudato Si”

Lighting Up Façades

Fr. David Friel · December 13, 2015

Catholic churches ought not to be treated as houses of entertainment, but as houses of prayer.

The Church of Our Savior

Fr. David Friel · July 27, 2015

And the Case of the Vanishing Icons

Sacred Architecture & the Dedication of the Lateran Basilica

Fr. David Friel · November 9, 2014

When we come to church, there should be no question whether we are in a church or in a coffeehouse or in a multipurpose gym.

Secular Architecture

Fr. David Friel · March 23, 2014

Reneging on the Promise of Public Art

“Daily I sat in the temple, close to you…”

Fulton J. Sheen always said the “very best translation” of Sacred Scripture was the version by Monsignor Ronald Knox, and here’s what Knox had for the Passion read today (Pre-1955 Palm Sunday): “And Jesus said to the multitude at that hour, You have come out to my arrest with swords and clubs, as if I were a robber; and yet I used to sit teaching in the temple close to you, day after day, and you never laid hands on me.” (Mt 26:55)

Did you catch that? Our Lord sat close to them! He was near them! The Second Person of the Blessed Trinity touched them, and was friendly toward them! Truly, the people who can hurt us the most—and betray us the most—are those whom we have loved.

—Jeff Ostrowski

Sacred Music Symposium • “What We Avoid”

I wish we had to time to discuss artwork at the Sacred Music Symposium, but there’s just not enough time. At this year’s conference in June, we will sing an absolutely incredible Magnificat setting by Father Francisco Guerrero (d. 1599). If you examine the part books, you will notice a marvelous aesthetic desire to avoid the same capital letter—for the sake of beauty. Do you see how the Part Books find a way to avoid repeating the Capital G twice, by using the word “Superius” (which is roughly analogous to “Soprano”)? Breathtaking!

—Jeff Ostrowski

“Abraham” • Guerrero Imitates His Teacher

Father Francisco Guerrero (d. 1599) studied music with Father Cristóbal de Morales circa 1545. He taught himself the organ. On 3 April 1542 he was engaged as a contralto by Seville Cathedral at an annual salary of 12,000 maravedís. He remained there until 1546, when, at the age of only 17, he was invited—on the recommendation of Father Morales—to become mæstro de capilla of Jaén Cathedral. He was entrusted with the boarding, lodging, and instruction of the six choirboys; but he neglected this duty and was sentenced to be dismissed on 30 August 1548. However, he was absolved and reinstated on 3 November. I think you can see (perhaps) a little homage to his teacher on the word “Abraham.”

—Jeff Ostrowski