Views from the Choir Loft

Traditional Catholic Artwork

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.

Holy Souls in Purgatory • 15th-Century Missal Illumination

Fr. David Friel · November 2, 2019

Detail from the Missal of Eberhard von Greiffenklau

6th-Century Icon: God of Mercy and Justice

Fr. David Friel · October 15, 2017

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

Two Articles Worth Reading

Fr. David Friel · April 2, 2017

On “Liturgiam authenticam” and the Crisis in Art

Essence, Form, Experience

Fr. David Friel · August 21, 2016

Fourth Annual Art of the Beautiful Lecture Series

The Church of Our Savior

Fr. David Friel · July 27, 2015

And the Case of the Vanishing Icons

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

Gwyneth Holston · June 23, 2014

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

Artist Lecture Series at Thomas More College

Gwyneth Holston · May 30, 2014

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

“Crucifixion” by Pierre-Paul Prud’hon

Gwyneth Holston · April 7, 2014

A striking image that should be more well-known.

What is Catholic Art?

Gwyneth Holston · March 31, 2014

Help me define the indefinable.

Saints Who Were Artists

Fr. David Friel · March 30, 2014

A Catalog

Jubilee Museum Sacred Art Biennial 2014

Gwyneth Holston · March 24, 2014

Call for entries for visual artists!

Finally! A Manly Saint Joseph

Gwyneth Holston · March 17, 2014

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

Painting of St. Catherine of Siena Part II

Gwyneth Holston · March 11, 2014

See the “reveal” of the finished painting.

Painting St. Catherine of Siena Part I

Gwyneth Holston · March 3, 2014

See what goes into designing a painting.

“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