Monday, February 20, 2006

Beauty is of the Essence of Liturgy

THIS POST WAS ORIGINALLY POSTED AT CONTEMPLATA ALIIS TRADERE:

Last week, the Church and the Order of Preachers rejoiced in the commemoration of Bl Fra Angelico, whose preaching was not exercised in word but by the brush, as he made visible for our contemplation the fruit of his contemplation of the true, the good and the beautiful. We often speak of God in terms of His goodness and His truth, but seldom do we engage in a theological aesthetic, finding God in Beauty, hence the particularity of Von Balthasar's theological project. I have touched upon aspects of Beauty and theology in this blog and I refer you to those posts for that is not my concern today. Rather, I would like to reflect on the need for Beauty in the Church which can, in turn, have such a profound effect on the world and our lives, as Beato Angelico's art did.

What can one say is special about Fra Angelico's art (above left, the Coronation of the Virgin) that gives it a religious, sacred quality? Pope Pius XII, speaking at the opening of an exhibition of paintings of Fra Angelico at the Vatican on 20 April 1955, explains:

"To encourage souls to pursue [holiness], Fra Angelico highlights not so much the effort of achieving virtue, as the bliss that comes from possessing virtue and the nobility of those adorned by virtue. The world of Fra Angelico's paintings is indeed the ideal world, radiant with the aura of peace, holiness, harmony and joy. Its reality lies in the future when ultimate justice will triumph over a new earth and new heavens. Yet this gentle and blessed world can even now come to life in the recesses of human souls, and it is to them he offers it, inviting them to enter in. It is this invitation which seems to us to be the message that Fra Angelico entrusts to his art, confident that it will thus be effectively spread.

It is true that an explicit religious or ethical dimension is not demanded of art as art. If, as the aesthetic expression of the human spirit, art reflects that spirit in total truthfulness or at least does not positively distort it, art is then in itself sacred and religious, that is, in so far as it is the interpreter of a work of God. But if its content and aim are such as Fra Angelico gave his painting, then art rises to the dignity almost of a minister of God, reflecting a greater number of prefections."

This is an extraordinary pronouncement because it accords to truly sacred art such a sublime potential and I would suggest that this refers not just to visual art but to music as well. Indeed, the Second Vatican Council pronounced that, "The musical tradition of the universal Church is a treasure of inestimable value, greater even than that of any other art" (Sacrosanctum Concilium, 112). Music has long been used in the service of the Liturgy, being instrinsically linked to the sacred texts of the Mass and Divine Office. When music and art in the Liturgy expresses the Beauty that comes from God alone, there is a raising of hearts and minds to God, to contemplate Him who is Beauty; an invitation to strive for holiness and that world where all is Beautiful. Thus, we ignore Beauty in the Liturgy at the risk of ignoring this vital means of drawing souls to Christ.

Martin Baker, Master of Music at Westminster Cathedral (photographed on the right) has an excellent article in the Tablet this week which reminds us that the Catholic choral tradition, such a key component of Beauty in the Liturgy, is "under threat and must be revitalised". In this article, he draws upon words written by fr Timothy Radcliffe, OP to support his argument and I think it is well worth adding his voice to the call for Beauty in our world:

"Jesus's sign at the Last Supper was beautiful. If it is to speak of hope in the face of death, then it must be re-enacted beautifully. Church teaching is often met with suspicion. Dogma is a bad word in our society. But beauty has its own authority. It speaks our barely articulated hope that there may be some final meaning to our lives. Beauty expresses the hope that the pilgrimage of existence does indeed go somewhere, even when we cannot say where and how. Beauty is not icing on the liturgical cake. It is of its essence"
(What is the Point of Being a Christian?, pp26-27).

Just to comment on the above, fr Timothy is absolutely right to say that Beauty is of the essence of Liturgy. This means that ugliness and banality in our Liturgy robs it of its essence and actually diminishes it. One may even ask: if Liturgy has lost its essence, if it is not beautiful, how much less efficiently does it fulfill its main purpose, which is the glorification of God and the sanctification of His People? Perhaps this is why many have lost interest in the Liturgy: because its contemporary celebration does not inspire, enthuse and fill with hope, because it is not beautiful and thus does not speak to the soul which thirsts for Beauty, for God. Is it not surprising then that people look elsewhere to slake this thirst? But of course, they find no actual satisfaction, for only Christ, the Fount of Life, the Living Bread, can fulfill our deepest desires and longings.

Moreover, fr Timothy suggests that Beauty in our Liturgy expresses our hope of a beautiful world to come, just as Pope Pius XII said that Fra Angelico's beautiful art was a reflection of the reality of the world to come, which was revealed to him in prayer and holiness of life. Hence, Michelangelo said of Beato Angelico: "One has to believe that this holy friar has been allowed to visit paradise and been allowed to choose his models there..." This suggests that the current drought of beauty in the Liturgy may be the result of what the Dominican Cardinal, Christoph Schonborn, calls "eschatological amnesia." Certainly, history informs us that when there was a great hope in the life to come, as in medieval Europe, the Church raised up great and beautful Gothic edifices and performed a beautiful Liturgy that pointed to the Heavenly Jerusalem, the consummation of a Christian hope that was being expressed so eloquently in beautiful sacred art.

Returning to Fra' Timothy Radcliffe, he continues:

"C. S. Lewis wrote that beauty rouses up the desire for 'our own far off country', the home for which we long and have never seen... Beauty gives us a whiff of the Kingdom. George Steiner, in 'Real Presences', proposes that artistic creation is the nearest we can get to a sense of God's creativity... A beautiful work of art evokes that first 'Fiat' when God said, 'Let there be light'...

Often what we are offered at the Eucharist does not have the beauty that can speak of transcendent hope... If the Church is to offer hope to the young, then we need a vast revival of beauty in our churches. Most renewals of Christianity have gone with a new aesthetic, whether with plainsong in the Middle Ages, with Baroque music after the Council of Trent, or with Wesley's Methodist hymns in the late eighteenth century..."
(ibid., pp 27-28).

Fr Radcliffe is surely right to call for a renewal of Beauty in our Church and in our Liturgy for beauty testifies to God and our Christian hope continually. Fra Angelico's art, the music of Palestrina and a beautiful church like Westminster Cathedral (on left) still speak to us today, as eloquent a 'sermon' as ever, preaching the Beauty of God who alone satisfies us and pointing to the world to come where the virtuous are united with God forever. Beautiful art have a freshness and immediacy that go beyond what is written on a page, endures where memory of a spoken homily fades and makes God accessible to all people, whatever their race, language or creed.

Therefore, Vatican II teaches: "These arts, by their very nature, are oriented toward the infinite beauty of God which they attempt in some way to portray by the work of human hands; they achieve their purpose of redounding to God's praise and glory in proportion as they are directed the more exclusively to the single aim of turning men's minds devoutly toward God" (SC 122).

And that - turning the hearts and minds of people to God - is precisely what the Church needs to do in a world already marred by the ugliness of sin, violence and hatred. The Church, through her Sacred Liturgy, must apply the balm of Beauty to our wounded world, so as to form in us the beauty of holiness.

May Our Blessed Lady, the Beautiful Mother of God and Blessed Fra' Angelico aid us with their prayers in this regard. Amen.

More recent articles:


The Octave of the Ascension 2025
From the homily of Pope St Gregory the Great read on the octave of the Ascension in the Roman Breviary. Concerning the glory of (Christ’s) Ascension, Habakkuk also said, “The sun was lifted up, and the moon stood still in her rank.” (3, 10-11) Who is here signified by the name of the Sun, if not the Lord, and by the name of the Moon, if not the Chu...

Practical Steps for Transitioning from the 1962 to the Pre-1955 Roman Rite—Part 1: Introduction
The author of this series wishes to remain anonymous. He is an experienced master of ceremonies and chanter, intimately familiar with both the 1962 rubrics and the pre-1939 rubrics in ordinary parish contexts.In the summer of 2022, almost as if to mark as well as the first anniversary of the lamentable papal motu proprio, Paul Cavendish and Peter K...

A Sequence for the Ascension
For the ongoing feast of the Ascension, here is a sequence for it which was sung in the Uses of Sarum, York, and Hereford in England, and in those of Paris and Sens in France. (Despite its great antiquity, and its status as the capital of France, Paris was a suffragan diocese to Sens until 1622.) It is attributed, though far from certainly, to the ...

Icon Painting Workshop in Crete, August 1-10th, taught by George Kordis
I will be attending this 10-day residential course this summer. It welcomes all, from absolute beginners to seasoned artists, and can be a masterclass for professionals.Writing the Light is a program of instruction in traditional Byzantine-style iconography that offers comprehensive training through its Certificate Program, from soup to nuts. Their...

A History of the Popes Named Leo, Part 5: The Medicis, Leo X and XI
This is the fourth installment of a series on the thirteen papal namesakes of our new Holy Father Leo XIV; click these links to read part 1, part 2, part 3 and part 4. The tenth and eleventh Popes to bear the name Leo were both members of the Medici family, the ruling dynasty (at first de facto, later de jure) of Florence. Thanks to the family’s d...

A Rubrical Note for the End of This Month
This year, the feast of Ss Peter and Paul falls on the Sunday after the feast of the Sacred Heart (June 27). A priest friend has put forth the question, What does one do about the external solemnity of the Sacred Heart, which would be celebrated on that day? The short answer, according to the rubrics of both the 1960 Missal and of the prior edition...

Other Gospels for the Ascension
The Roman Rite has various ways of arranging the Masses during an octave. That of Easter, for example, has a completely proper Mass for every day, that of Pentecost for every day but Thursday, which was originally an “aliturgical” day; when its Mass was instituted later, it was given proper readings, but everything else is repeated from Sunday. Th...

The Feast of St Petronilla
Long before either the Visitation or the Queenship of the Virgin Mary were celebrated on this day, and before those, St Angela Merici, the founder of the Ursulines, May 31st was the feast day of St Petronilla. Although she is missing from the oldest Roman liturgical books, she is seen in a painting of the mid-4th century in the catacomb of Domitil...

The Festival of St Joan of Arc in Orléans, France
Today is the feast of St Joan of Arc, kept on the anniversary of her execution by burning at the stake in the city of Rouen, in the year 1431. The second Sunday of May is kept as a national holiday in France in honor of her, called the “national holiday of Joan of Arc and of patriotism.” (The title isn’t any less awkward in French.) This date was c...

The Holy Ghost Hole
A Holy Ghost hole in Saints Peter and Paul parish church in Söll, AustriaA curious architectural feature of some churches in France, southern Germany, and Austria is the Holy Ghost Hole, an opening in the ceiling into which different objects were once thrown during the celebration of the Mass. It is speculated that the art surrounding the hole indi...

For more articles, see the NLM archives: