Views from the Choir Loft

Traditional Catholic Artwork

Fr. David Friel · May 13, 2021

The Ascension Depicted in the Rabbula Gospel Book

This is one of the earliest Christian manuscripts to be illuminated with (the oxymoronic) “large miniatures.”

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Fr. David Friel · February 14, 2021

New Monthly Companion for the Extraordinary Form

“Benedictus: The Traditional Catholic Companion” is an initiative of Sophia Institute Press.

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Fr. David Friel · February 23, 2020

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

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

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Fr. David Friel · November 2, 2019

Holy Souls in Purgatory • 15th-Century Missal Illumination

Detail from the Missal of Eberhard von Greiffenklau

Fr. David Friel · October 15, 2017

6th-Century Icon: God of Mercy and Justice

A thoughtful reading of an icon at the Holy Monastery of Saint Catherine in Sinai, Egypt

Fr. David Friel · April 2, 2017

Two Articles Worth Reading

On “Liturgiam authenticam” and the Crisis in Art

Fr. David Friel · August 21, 2016

Essence, Form, Experience

Fourth Annual Art of the Beautiful Lecture Series

Fr. David Friel · July 27, 2015

The Church of Our Savior

And the Case of the Vanishing Icons

Gwyneth Holston · June 23, 2014

Archbishop Sample’s Letter On Sacred Music (8 of 8)

Eagerly awaiting a Pastoral Letter on Sacred Art in Divine Worship.

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Gwyneth Holston · May 30, 2014

Artist Lecture Series at Thomas More College

If you are in New England July 25 – August 1, you don’t want to miss this!

Gwyneth Holston · April 7, 2014

“Crucifixion” by Pierre-Paul Prud’hon

A striking image that should be more well-known.

Gwyneth Holston · March 31, 2014

What is Catholic Art?

Help me define the indefinable.

Fr. David Friel · March 30, 2014

Saints Who Were Artists

A Catalog

Gwyneth Holston · March 24, 2014

Jubilee Museum Sacred Art Biennial 2014

Call for entries for visual artists!

Gwyneth Holston · March 17, 2014

Finally! A Manly Saint Joseph

I’m not sure why, but there are an unusually high number of saccharine depictions St. Joseph. This is not one of them.

New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.

—Jeff Ostrowski

Cheap! Cheap! Cheap!

It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…

—Jeff Ostrowski

PDF Download • Dom Murray Harmonies

Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”

—Jeff Ostrowski

Karl Keating • “Canonization Questions”

We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.

—Corpus Christi Watershed

Vatican II Changed Wedding Propers?

It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.

—Corpus Christi Watershed

Solemn “Salve Regina” (Chant)

How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).

—Corpus Christi Watershed

Had the Church never spoken on this matter, it would still be repugnant to our Catholic people’s sense of what is fit and proper in the holiest of places, that a priest should have to struggle through the prayers of the Holy Mass, because of such tunes as “Alice, where art thou?” the “Vacant Chair,” and others of more vulgar title, which, through the carelessness or bad judgment of organists, sometimes find their way into our choirs.

— Preface to a Roman Catholic Hymnal (1896)