Aesthetics for Artists and Art Lovers - Learn About Cosmic Beauty

A Survey of the Philosophy of the Good, the True and the Beautiful. An Online Course taught by Dr Carrie Gress for Pontifex University 

When I first decided, many years ago now, to become an artist, I wanted to know how to create beautiful art. Given this goal, it seemed obvious, along with all the other aspects of my formation, that I should start reading about beauty itself.

However, to my surprise, I found very little to help me from Catholic writers. Books on aesthetics talked at length about the nature of beauty - and some seemed true (although many didn't) but barely anyone seemed to offer anything that was of practical use to an artist.

Everyone told me to read Jacques Maritain. I'm probably going to commit a heresy that will offend Thomists here, but I wasn't at all convinced by him either. As I read through Art and Scholasticism, which was admittedly, full of complex reasoning about the nature of beauty, I still wanted to ask the question: and how do I use all of this to help me judge what is beautiful? I am an artist, how is all this going help me to decide whether or not to direct the brush to the left or to the right? But there was very little there to help me.

Finally, right at the end of the book, he told us that the embodiment of all that he had been describing was in the paintings of Braques and Picasso. You have to be joking, I thought. I knew that their work was designed so as to promote an anti-Christian worldview, yet he seemed to be unaware of this. After pages and pages of proofs justifying the objectivity of beauty, in the end, even for Maritain it came down to an arbitrary application of personal taste to tell us that beauty is what he happens to like. Why not just forget the first 300 pages, I thought, and tell us that the answers to what is beautiful, is that it is what clever philosophers say it is? This principle of elitism was no different from any university in the country, where the intellectuals use wordy arguments to tell you what they like is good and you're a Philistine if you think differently.

Although many Church Fathers had written about beauty, they didn't treat the subject separately and so it was difficult to know where to find references to it if they were sprinkled across the whole corpus of the writings. St Thomas is one of these.

I was faced with the prospect of reading volumes and volumes of ancient works, in the hope of finding the occasional nugget of wisdom or hope that someone else had done it first. Strangely, the best anthology I could find was a coffee table book, lavishly illustrated, by an atheist who didn't even believe in objective beauty, but nevertheless knew how to represent the arguments clearly - Umberto Eco. The book was called A History of Beauty. It had short quotations bu very little explanation.

Now, finally, we have a course by a Catholic that gives you a thorough survey of the way that beauty, along with its sisters, goodness and truth from which it can't really be separated. It is better than anything I have seen before - taking you from the ancient Greeks right the way through to awful moderns in a systematic and clear presentation.

A Survey of the Philosophy of the Good, the True and the Beautiful is offered as part of Pontifex University's Master of Sacred Arts program and it is taught by Dr Carrie Gress. Some of you may know her through her bestselling book, The Marian Option, or through her regular articles on various websites such as the National Catholic Register. Dr Gress is also an accomplished philosopher, who obtained her PhD in philosophy from Catholic University of America. She has done all that reading that I was baulking at! And has put it all together for the benefit of all in a stimulating and clear presentation.

Dr Gress's wonderful online course will give you an understanding of the different ways that the great and influential figures of the past - Plato, Aristotle, St Bonaventure, St Thomas and the medievals, for example -understood what beauty is. Through this you will be able to form your own view - there is no single Catholic definition by the way, however much we might like it to be the case. Furthermore, by taking the full Master of Sacred Arts program you will understand how to apply what you learn in your own lives and work.

This an introductory philosophy course. The approach is to assume high intelligence but not necessarily a background in philosophical principles. Therefore, anyone can learn from it. She takes the trouble to explain everything from the foundation of first principles and from there guides you right up to the high peaks!

Incidentally, though clearly very important, St Thomas is not the only contributor to this story! There are many people with important and different things to say on the subject. And as Dr Gress is an expert on Jacques Maritain, you can listen to her explanation of his work and decide for yourself what you make of him - you don't have to adopt my point of view!

You can take it as part of the Master of Sacred Arts program or as a stand-alone, for credit or audit. www.Pontifex.University. It is a recorded online course, so you can register at any time, and take it at your own pace.

The painting below is Raphael's famous School of Athens. I suggest that given Dr Gress's course goes from Athens right up to the present day, there isn't a wall big enough to illustrate all the philsophers she talks about!

Cultivating Spiritual Joy! An Advent Meditation by a Priest from the Instute of the Incarnate Word

Simple and Practical Ways to Promote and Preserve Spiritual Joy, Inspired by St Paul

There is a series of wonderful meditations on the Claritas blog at the moment by priests from the Argentian order, the Institute of the Incarnate Word. I wanted to highlight this, and also share with you here third in the series of meditations for this third week of Advent, based upon the readings from last Sunday. It is by Father Nicholas Grace who is in Cowdenbeath in Scotland. It is so refreshing to hear a priest actually confirming something that I have long believed, that happiness is a choice we can make, provided know how to make the choice. This is simple but profound advice!

He writes:

We have a wonderful topic this 3rd Sunday of Advent because the readings the Church presents give us the opportunity to speak about that most desirable Catholic disposition of soul, that is, Spiritual joy.

The readings offer plenty of material for speaking about spiritual joy. The spiritual joy of the glad tidings that Isaiah was asked to bring to the poor or the spiritual Joy expressed in the Psalm we heard. The Psalm which was an echo of Our Lady’s Magnificat, an expression of spiritual Joy in its purest form.

However, we will focus instead on the 2nd reading from the letter of St. Paul where we are encouraged to rejoice always, to rejoice in God.

I would like to focus on three of the means Paul offers to cultivate and maintain spiritual joy. I will mention three ways to pray without ceasing, and three ways to avoid quenching the spirit. Finally, both of these means will be summarized in Paul’s admonition to retain what is good and refrain from what is evil.

First: Paul urges, pray constantly. How is this possible? It is possible in three ways.

1st: He constantly prays who does not neglect the appointed time for prayer. This begs the question, do I have an appointed time for prayer? If not, why not?

2nd: Always cultivate good desires in the heart. “Lord, you hear the desire of the meek”. We pray for the good, we desire the good and we do the good. Prayer is always present in the good things we do. For this reason, the wise man says, “He does not cease praying who does not cease doing good.”

Therefore, to constantly cultivate good desires in the heart, is to constantly cultivate prayer.

3rd way to pray without ceasing is by giving to those in need.

In fact, the Fathers of the Church tell us: “He who always gives alms is the one who always prays, for the person who receives alms, prays for the person who gives alms.” So, he constantly prays who does not neglect the appointed time for prayer, who cultivates a pure heart and who gives to those in need.

Second: Paul urges: do not quench the Spirit. You might ask, how does one quench the unquenchable? The Holy Spirit is indestructible but someone can drive the Spirit away from himself or can inhibit the Spirit’s operation in somebody else.

In somebody else? When somebody wishes to do something generous as a result of the impulse of the Holy Spirit and the person impedes it, he quenches the Holy Spirit. What about in himself? We all know the answer, mortal sin. Every man is tempted, drawn away and enticed. Once enticed, sin is brought to the soul, and sin brings death and death is the departure of the Holy Spirit.

The Holy Spirit abides in us but when we commit grave and deliberate sin, he departs. Sacred Scripture says as much, “For a holy and disciplined spirit will flee from deceit, and will rise and depart from foolish thoughts, and will be ashamed at the approach of unrighteousness.” (Wis. 1:5).

Third: Paul urges us to test everything, I ask you, is this admonition not a great help to having a positive approach to what we have already said?

If we pray constantly will we fail to retain the good? If we implore the Holy Spirit to work in us, if we obey the commandments if we love our neighbor as we love our-self, will we not then refrain from evil? Will our spiritual joy not be bubbling up from inside of us?

The answer is yes, however, the more we pursue the good and fight the bad, not only will our spiritual joy be increased but so will our spiritual crosses. Crosses which we can spurn, leave or lift.

Clearly one shall be disloyal if he spurns it, negligent if he leaves it, but true-hearted if he lifts his cross. Cross-bearing is the highway of holiness because holiness bears all crosses, crosses picked up in the pursuit of the good as well as the battle against the bad, crosses which instead of being born, become embraced, embraced because those same crosses are a fount of that wonderful spiritual joy which is not the cause of holiness but a manifestation of it.

I would like to conclude by wondering out loud what would happen if St. Paul were here. Would we be nervous if he were to ask us if we knew the means to promote and preserve spiritual joy? Certainly not! Would we be nervous if he asked us what it means to pray constantly? Certainly not! for we have just heard that he who prays constantly is he who prays when he says he will, prays because he has good desires and a good heart, prays because he always gives to those with needs, those who in turn pray for him in thanks for his good deeds. Would we be nervous if Paul were to ask us what it means to quench the Holy Spirit? Certainly not! for we have just heard that, he stifles the spirit whoever prevents others from following holy inspirations, or himself follows his own wicked inclinations.

Well, we may have wicked inclinations but we will do everything to curb them, everything to retain what is good and refrain from what is evil. For we are Catholics, specially chosen by God, to give glory to God. We will be strong in faith, perseverant in hope, industrious in charity, joyful in carrying our crosses and quick to help others with theirs, for we know, that just as God has blessed us, so we must bless all persons, for all persons God loves.

The image is a fresco of St Paul by Giotto

St Paul is often protrayed as a stern man, but the account of his life and his letters have always suggested the opposite to me. There are many references to the joy of the Faith in his writing. Happiness is, after all, what we all seek, and there is no doubting from St Paul that it is on offer to Christian. I like the firm, yet gentle and peaceful expression on this painting by Giotto.

Recently Completed Sculpture by Thomas Marsh: the Holy Spouses, Patrons of the Unborn

I was delighted to receive notice of the completion of a major commission by Thomas Marsh.

It is of the Holy Spouses, Patrons of the Unborn and is located at the Shrine of Our Lady of Guadalupe in Bakersfield, CA.

I love the restrained use of color as applied to the bronze. Also, note that the faces are not portraits of a model, but rather they are idealized, taking inspiration from the Greek ideal, that was used by High Renaissance and Baroque masters. This is something that is so important in sacred art, yet is not understood by so many artists who work in naturalistic styles. I explain the reasons why idealization is important in sacred art in an earlier blog post here.

Beautiful art is as important to the creation of a culture of life as the noble political battles fought by those in the Right to Life movement, I suggest!

Below is a detail of the original clay model that the cast was based on:

Thomas has been an advisor to me in the creation of the Masters of Sacred Arts program at www.Pontifex.University, which offers the all-round formation, the Catholic inculturation that would tell an artist how to direct his brush or chisel, and a patron which artists to commission!

He is also the teacher of Deborah Samia who has created one of the two online studio classes required for the MSA program, an Introduction to Sculpting the Figure.

Anthony Visco Atelier for the Sacred Arts Announces Courses for 2018

Anyone who wants to learn to draw and paint in the naturalistic style should consider classes at the atelier of Catholic master artist Anthony Visco. The perfect combination would be to learn your practical artistic skills with Anthony at his Atelier for Sacred Arts and take the Master of Sacred Arts with www.Pontifex.University in order to have the all-round formation and Catholic inculturation that will help direct your brush...and chisel...and crayon!

William Blake's Satan Watching The Caresses of Adam and Eve, by Bill Donaghy of the Theology of the Body Institute

A video commentary by Bill Donaghy of the Theology of the Body Institute, Here is the second in the series of 12 short videos on art by Bill Donaghy of the Theology of the Body Institute in Philadelphia. This week and next he discusses two paintings by William Blake the poet and artist. In this case, he discusses illustrations to Milton's Paradise Lost. First is Satan Watching the Caresses of Adam and Eve.

At first glance, the art of Blake may seem a world apart from the grand fresco of Adam and God in the Sistine Chapel by Michelangelo. However, both draw on the ancient Greek ideal of the human form for inspiration. This can be seen if you compare the paintings in each case with any Venus or Hermes (as below)

This is appropriate to the subject matter and consistent with the ideas of John Paul II because he stated that in his view the Greek ideal might be the starting point for the art of the Theology of the Body.

Here is the video: https://youtu.be/SER00LywujY It was recorded in April last year and so the course that Bill refers to is past, but I would encourage people to look for courses in the coming year. His approach to art and beauty is fully in harmony with that of Pontifex University and my own Way of Beauty book.

Caravaggio's Greatest Painting!

St Lucy is a 3rd-century saint, a virgin martyr who was venerated from the moment of her death and whose feast is celebrated on December 13th in both East and West. An account of her life can be found here. As with all worthy images intended for worship, we see in this portrayal of her (by the great 18th century Venetian, Tiepolo) we see an account of her story and the characteristics that identify her uniquely. So we see her receiving communion just at the moment of death caused by being stabbed in the throat. As the instrument of her death, the dagger is placed bottom right in the composition, along with her eyes on a plate. This latter symbol is most commonly associated with her, although it is developed relatively late, in the middle ages, linked to her name which is derived from the Latin word for light. Other attributes we will see are a palm branch - which is appropriate to all martyrs - as seen in this famous Renaissance period painting by Francesco de la Cossa And, people struggling to move her. The consul Paschasius ordered that she be removed to a brothel and abused until she died. However, teams of men tried but failed to move her. We see this in the painting below in this 15th-century depiction. Teams of oxen are being used. A tradition iconographic image has the saint holding a cross as a sign of martyrdom as in the beautiful fresco: I finish with Caravaggio and his burial of St Lucy. This is a late painting done when he was in exile, so to speak, from Rome and living in Sicily, the home of St Lucy.  It is an altarpiece and in my opinion, one of the most brilliant paintings he has done. I do not know if the stylistic development is by accident or design, but regardless I like the result. Notice how much more this reflects the developing baroque style than his early work. It is shrouded in more mystery, with disappearing edges, far more numinous monochrome rendering and less colouration than he might have painted in his youth. The composition is brilliant, with the arcs of the arcs of the limbs of the two figures in the foreground creating a mandorla, which frames the figure of St Lucy. This is one of a series of articles written to highlight the great feasts and the saints of the Roman Canon. All are connected to a single opening essay, in which I set out principles by which we might create a canon of art for Roman Rite churches, and a schema that would guide the placement of such images in a church. (Read it here.) In these, I plan to cover the key elements of images of the Saints of the Roman Canon - Eucharistic Prayer I - and the major feasts of the year. I have created the tag Canon of Art for Roman Rite to group these together, should any be interested in seeing these articles as they accumulate. For the fullest presentation of the principles of sacred art for the liturgy, take the Master’s of Sacred Arts, www.Pontifex.University.

The Theology of the Body and Art, By Bill Donaghy

In the first of a series that will run for the next few weeks, here is a beautiful and simple analysis of this scene from the fresco by Michelangelo in the Sistine Chapel in Rome. It is presented by Bill Donaghy of the Theology of the Body Institute in Philadelphia. The Institute offers a series of intensive classes for a certificate on the writings of St John Paul II, which I recommend wholeheartedly. They focus especially on their relevance to the culture and the New Evangelization, as well as marriage and the family. In this five-minute presentation, we see all three come together!https://youtu.be/UqGNLJAWxrQ

John Paul II was a great admirer of Michelangelo and his style. He suggested that idealized naturalism, which draws on the ancient Greek ideal, might be a way to represent mankind 'naked without shame'.

Why the Prophet Daniel and The Fiery Furnace Is So Important for Christians.

And How the Sacred Art Reveals It

Have a look at this ancient wall painting of the prophet Daniel's companions in the fiery furnace. It is from the Roman catacombs and is one of the images that is included in the Catechism of the Catholic Church.

Scripture tells us of the fate of Daniel's three friends (Daniel 3: 49, Knox translation). It says that an 'angel of the Lord had gone down into the furnace with Azarias and his companions and drove the flames away from it, making a wind blow in the heart of the furnace, like the wind that brings the dew. So that these three were untouched, and the fire brought them no discomfort. Whereupon all of them, as with one mouth, began to give praise and glory and blessing to God, there in the furnace.'   Afterwards, the king who had thrown the youths into the fire, Nebuchnudnezah said he saw four figures, and the fourth was 'as it had been a son of God' (v92).

I recently examined this passage in scripture because the song that the three subsequently sang is known as the Canticle of Daniel and is sung on Feast days at Lauds. I was looking at the background to this and considering why it is sung in the liturgy.

My understanding is that in the interpretation of the Church Fathers, the reference to the wind and the dew in the scriptural account has been connected to the Creation story in which the Spirit of God was over the water, and then to the baptism of Christ in which the Holy Spirit comes down and the sacrament of baptism is initiated. Baptism is, through water, the instrument of the death of the old self spiritually so that we can be resurrected, also spiritually, in Confirmation or Chrismation by the action of the Holy Spirit.

There is a similar connection to the passages describing the crossing of the Red Sea and the crossing of the Jordan by Joshua, in which the water and wind are connected. Wind is the action of the Spirit, as is fire (as at Pentecost which the Church Fathers also connected to the burning bush).

These common themes are the reason why traditionally in baptistries we would see portrayals of all these scenes, as described here.

So who is the fourth figure?

He can be represented simply as 'an angel of the Lord', as in this contemporary icon by Nicola Saric:

Some Church Fathers identified the figure as a pre-incarnational appearance of Christ, as in the tale of the three figures in the Hospitality of Abraham in Genesis, and the voice in the Burning Bush speaking to Moses. So in this icon, this is made explicit by the artist. The 'IC XC' and the cross in the icon tell us that this is Christ.

The painting in the catacomb we referred to initially seems not to show either of these. Rather, he appears not to be showing the fourth figure at all, but is giving us something else, It is a bird. The branch in the beak of the bird suggests to me that the artists is connecting it to the dove in the story of Noah. This story of Old Testament redemption is connected to the new through that image of the dove, who appears at the Baptism of the Lord.

This is an event, of course, that opens the way for our salvation. This New Testament resurrection in the spirit is available to all men through the Church, right now in this life, and is every bit as miraculous and wonderful as the saving of the three youths. We are partaking of the divine nature and the living out of the sacramental life of the Church which opens the way to a life of the greatest joy, if only we could believe it. The artist is connecting all of these events together through this painting, and it is why, I suggest, it would be appropriate for a baptistry in order to help deepen our faith.

There is something else that occurs to me. My understanding is that bodily resurrection is referred to by Peter as a process of purification by fire, in so doing he is echoing Wisdom 3 and Malachi 3. Again this is a purification by the Spirit.

The passage from Malachi 3: 1-4, refers to the purification by fear but begins as follows: 'See where I am sending an angel of mine, to make the way ready for my coming. All at once the Lord will visit my temple; that Lord, so longed for, welcome herald of the divine covenant. Ay, says the Lord of hosts, he is coming; but who can bear the thought of that advent? Who will stand with head erect at his appearing? He will put men to a test fierce as the crucible...'

This same passage in Malachi is the one quoted directly to also in Matthew 11.10. In this Matthew tells us that John the Baptist is this messenger (angelos) who shows us the Christ.

Here is an icon of John the Baptist, also known as the Forerunner, painted by Dr Stephane Rene, who works in the neo-Coptic school. We can see he is portrayed as an angelos - a messenger in the manner of an angel along with the Baptism of Christ and the Holy Spirit appearing as a dove:

So the angel of the Lord in the furnace of Daniel could be conceived also, I suggest, as a type for John the Baptist.

Regardless of the precise aspect of the theology that each artist has decided to portray, the full story that they reveal really should give us cause to praise God daily, just as the youths did, and sing their canticle in the Liturgy of the Hours!

The Psalms in Words, Images and Prayer is an elective course for the Master's in Sacred Arts, offered by Pontifex University, www.Pontifex.University.

12th Century Wall Painting in Durham Cathedral - A Tradition for Today

How about this from Durham Cathedral - St Cuthbert in the style of the School of St Albans? It is in the Galilee Chapel at the Romanesque cathedral in northern England. I suggest that this approach of simple line drawings describing form, and simple coloration is one that artists of today could adopt. If they do so, a wonderful new 21st-century gothic style can emerge for the greater glory of God and the Church! If done' properly this would be simultaneously contemporary and traditional in a way that speaks powerfully of the Faith.

This shows that the miniature illuminations of Matthew Paris, which www.Pontifex.University promotes, can work well on a grand scale on walls too. Here is a miniature by Matthew Paris, from the 13th century.

I say on this pilgrimage of life, let's set the bow of the barque headed firmly towards heaven, with tradition at the tiller!

Artists! Learn to paint in the style of the School of St Albans in the www.Pontifex University. My course, A Study of Artistic Method for Patrons and Artists not only teaches you how to paint in egg tempera, but it explains the principles by which you can make any style of art you like your own; and it so happens that the style I focus on in the class to illustrate is the School of St Albans style, as seen in the Galilee Chapel of Durham Cathedral!

Here are some more photos of Durham Cathedral to give you some context.

St Andrew - Apostle, Martyr

Today is the Feast of St Andrew who, as an Apostle, is mentioned in the Roman Canon of the  Mass. Before he was called to follow Christ he was a follower of John the Baptist and like him, he is depicted with unkempt hair.

Here are two more icons that caught my eye. The second of the two was painted by Sr Petra Clare and it hangs in Pluscarden Abbey in Scotland. I remember seeing it many times when I visited.

The cross upon which he was martyred, during the persecution of Nero, is a characteristic X shape. As someone from the British Isles, I am well aware of this because he is the patron saint of Scotland and the Scottish flag depicts it symbolically. This was incorporated into the Union Jack sometime after the formal union of the two countries in the 18th century.

The martyrdom itself is depicted in Western portrayals of the saint. For example here is one by Rubens in characteristically dramatic style. In accordance with tradition he is shown bound, not nailed, to the cross:

Andrew was the brother of St Peter and the portrayal of the calling of the two as fishermen who will become 'fishers of men' is another common scene in Western portrayals.

Here is Duccio's painting...

...an early mosaic from Ravenna (note how Christ is beardless)...

I do not know who the figure in the toga is on the right. Below is a baroque painting of the same scene.

This is one of a series of articles written to highlight the great feasts and the saints of the Roman Canon. All are connected to a single opening essay, in which I set out principles by which we might create a canon of art for Roman Rite churches, and a schema that would guide the placement of such images in a church. (Read it here.) In these, I plan to cover the key elements of images of the Saints of the Roman Canon - Eucharistic Prayer I - and the major feasts of the year. I have created the tag Canon of Art for Roman Rite to group these together, should any be interested in seeing these articles as they accumulate. For the fullest presentation of the principles of sacred art for the liturgy, take the Master’s of Sacred Arts, www.Pontifex.University.

Rose Windows and Sacred Geometry - the Ancient Mystical Path to God

I have just been creating a new online course on the mathematics of beauty and as part of this, I wanted to show how to represent the symbolic meaning of number in the context of the liturgy in such a way that it might deepen participation. The obvious way to do this is to have a pattern with the symmetry of the number. This will require also some catechesis of the congregations so that they are reminded of what it is pointing to every time they see it. It can be part of the decoration of the church, incidental, as it were, to the structure:

Or it can be more intimately and obviously bound with the form of the church, as it is in the medieval rose window. Here is a window dating from about 1500 in the cathedral at Amiens in France:

It is important to awaken our innate sense of the symbolism of the natural world and all that is created as this stimulates also our natural sense of the divine. The awe and wonder that we feel when we contemplate the world around us is, for all that it seems profound, little better than a shallow emotion generated artificially by a drug if we stop there and do not allow it to draw us closer to its source - God. This is its true consummation, we are made to see the glory of God in his creation and it will be to his greater glory and our greater joy if we allow the beauty of the world to take us to what it points to.

We can consider this to be a form of relation. Creation is in relation to its Creator. By virtue of its existence, it is relational, for it is connected to its Creator by the mark of divine beauty He has impressed upon it. This interconnectivity of all that exists, therefore, is not a mental construct thrust upon the cosmos artificially by mankind. Rather it is a property of the object that we see. All being is relational by nature and is patterned lattice that has the Creator at its heart.

As created beings ourselves, we participate in this dynamic too, seeing a natural connection between ourselves and the rest of the cosmos. All of mankind is endowed by the Creator with an intellect and the capacity to observe the world around us in such as way that it can derive from it an understanding of our place within it, and ultimately this points to and sheds light on our relationship with the Creator.

Part of our task as people seeking to evangelize the world is to re-awaken the final link in the chain of connection between creation and Creator by re-establishing a culture that is rooted in this principle of interconnectivity through its beauty. This process of evangelization of the culture begins in the church in which all that we perceive and all that we do participates in this language of symbol and is there to connect us to God.

Coming back to the symbolism of number, it is widely accepted, even in the secular culture, that the natural world is connected to mathematics. The connection is so strong that few, if any, doubt, for example, the power of mathematics to help the natural scientist to describe the processes of the natural world. However, I think we should stop for a moment and think about this - it need not automatically be the case. Once I realised this it became a source of great wonder to me that the abstract world of mathematics is so intimately bound in its structure with the behaviour of the natural world.

This had to be noticed before the connection could be made, and it is why figures such as Boethius commented, in his De Institutione Arithmetica, (Bk1, Ch.2) that 'number was the principal exemplar in the in the mind of the Creator' and from this is derived the pattern of its existence that the scientist observes.

The natural scientist of today is generally less aware of the symbolism that runs through both nature and mathematics. The medieval thinker would not have rejected method of today's natural scientists I suggest but would have added to his description of the natural world the symbolic language of number, which is largely forgotten today. If scientists were to do this today, I suggest that it would inform his work in such as way that technology would both enhance his work as a conventional scientist and allow its applications to become more in harmony with the flourishing of man. Rather than being in conflict with today's scientist, the proponent of sacred number has something that can help him to be a better scientist.

Geometry is a way in which number can be expressed in space through matter, and so this is why geometric patterned art ought to be right at the heart of the evangelization of the culture and any sacred art. It is also why the study of the symbolic meaning of number in conjunction with the study of geometry is so important in a Catholic education today. What I propose is a study of geometry that is so much deeper, and more exciting than the dull task of memorizing Euclidian proofs (which sadly seems to be the way it is taught in Great Books schools today). This is about connecting the pattern of the universe to the creative impulse of man so that the beauty of the culture can direct us to God even more powerfully than the most beautiful sunset you have ever seen.

And so this is why I would like to see the rebirth of the Rose Window, in our new churches. This is more than simple decoration, if done well it has the power to stimulate in us a profound sense of our place in the world and in relation to God. Always assuming that even if we got as far as seeing them in churches, the catechesis available would be minimal or poor (we're Catholics!) these would need to be designed in such a way that the symbolism was obvious. There is nothing stopping words and scriptural quotes being added, just as we must in figurative art, in order to clarify, for example.

Here I give some examples of such windows with, three, four, five and sevenfold symmetry. I have obtained these photographs from a great resource that I discovered online called therosewindow.com, run by Painton Cowen, who kindly gave us permission to reproduce his photographs here. This site has photos of windows based upon numbers that you don't normally associate with Christian symbolism - 11 and 13 for example. I would want to consider carefully the basis of these before replicating them today. We must learn from the past, but we must be aware also that not everything that it tells us is true!

Here are some images.

Three, 15th century, Barrien, France:

Four and three in a quincunx arrangement of five objects, 15th century, Agen, France

Five, Exeter, England, 13/14th century:

Seven, Beaulieu en Rouergue, France, possibly 14th century:

If you want to know more about the symbolism of number and the philosophy behind it, I suggest that you either read The Way of Beauty or take the course, the Mathematics of Beauty which will soon be offered at www.Pontifex.University, Master's in Sacred Arts program.

In the meantime...believe it or not, lucky thirteen! Larino Duomo, Italy,

Should An Icon of a Soldier Show Him With Fatigues, Chainmail, or a Roman Kilt?

Painting the 21 Christian Coptic Martyrs

Anyone who has ever seen an icon of St Therese of Lisieux painting or John Paul II will know how difficult it is to paint an icon of a modern figure. There are two problems associated with them that I can think of:

Firstly, when the facial features are well known through photographs, there is a tendency to over naturalize the facial and the mismatch with the stylization of the rest of the figure and it ends up looking like an iconographic version of a head-in-the-hole picture

Second is dealing with contemporary clothes. While it seems to have been fine in the middle ages to paint the soldiers of their past in contemporary chainmail because the idea of awareness of what the biblical soldiers might actually have worn was different (here's Samual anointing David and David slaying Goliath).

...I don't think it would work today. We would use historical dress. When it comes to contemporary saints, such as the 21 Coptic Christian martyrs beheaded by ISIS, the iconographer can't suddenly put them in historical clothing to give the aura of holiness but must aim to represent the clothes they wore in an iconographic way.

Here is an icon by a neo-Coptic iconographer of the 21 martyrs. Notice the sensitive way that the painter has handled the faces and the clothes, to create a contemporary icon very well, even portraying the bright orange jumpsuits that the prisoners wore.

Artists! Do the Master's in Sacred Arts at www.Pontifex.University

John Paul II Foundation for Sacred Arts - An Innovative and Entrepreneurial Answer to Paying Artists Well for Good Work

Here is an exciting and innovative approach to financing original works of sacred art. It comes from the recently formed John Paul II Foundation for Sacred Arts.

It is a free market approach in which artists are motivated to create work of sufficient quality that it will fulfil its purpose fully, which means that it will connect with congregations in their worship. If he fulfils both of these criteria, then through this system, he will generate enough return that he will have more than a living wage.

Instead of a traditional endowment or commission model, the Foundation partners with artists in an entrepreneurial venture to fund a given project at cost. This format makes funding sacred art financially accessible to donors of all levels. Grants are crowd-funded and paid in installments throughout the creative process to pay the artist’s material costs and living expenses. Upon its completion, the artist retains primary ownership of the work, while the Foundation enjoys a share in the proceeds of any sale of the work, associated prints, or revenues from displaying the work.

The great strength of this, is that once the artist is selected for crowd-funding, he is still not guaranteed success. The funding will only come if the crowds are interested, so to speak. In other words, it must appeal to large numbers of ordinary, non-elites as well.

This is the ultimate test of beauty - it appeals to the cognoscienti and hoi polloi alike. As Benedict XVI said in A New Song to the Lord (p123): "It is precisely the test of true creativity that the artist steps out of the esoteric and knows how to form his or her intuition in such a way that the other - the many - may perceive what the artist has perceived."

This is saying that while all that is popular is not beautiful; all that is beautiful will be popular (provided enough people are exposed to it). Therefore, the judges who consider its appropriateness for sacred art must consider also whether this is likely to connect with congregations. If they get it wrong and no one wants to fund it, they won't make the same mistake twice! It is, in part at least, self-selecting.

Some artists may still argue that they won't be able to access this funding unless they can first jump through the hoop of judges' selection. This is true. But if that happens to you...start your own crowd-funding foundation! The best will rise to the surface and the crowds will decide which judges they trust, and whose art they want to back.

The Foundation is inspired by the personal experience of its founder, Fr. Michael Burbeck, who had a profound conversion sparked by the transcendent beauty he found in the great churches of Europe. This encounter with beauty set him on a path to the Catholic faith and, ultimately, the priesthood.

He told me:

As then-Cardinal Ratzinger wrote, “The encounter with the beautiful can become the wound of the arrow that strikes the heart and in this way opens our eyes.” Similarly, because of beauty, I found the Catholic Church, fell in love with her, and was convinced of the truth of her teachings. That is the power of sacred art.”

The art I encountered was the fruit not only of a culture of faith, but of a system of patronage where art and artists were promoted and financially sustained. That system no longer exists, and yet, as Pope St. John Paul II says so plainly in his Letter to Artists, “the Church needs art.” The John Paul II Foundation for the Sacred Arts exists to help meet that need — to promote sacred art by partnering with artists who share our belief in the evangelical power of beauty.

The Foundation is currently funding its first work, a painting of Our Lady of Guadalupe by Cameron Smith - a full-scale re-presentation that the artist describes as “faithful to the message and spirit of the original mystical image … simultaneously familiar and strikingly new.” It is our hope that this work of authentic beauty will bring the image and message of Our Lady of Guadalupe to a new generation.

This is so different from the most common model of organizations founded to promote beautiful art in the Church. The standard format that I have seen is to have a call for artists, organize an exhibition, and then have an event with prominent speakers to draw people in to see it. The weakness of this model is that the assumption is that the artists are already out there and all we need to do is publicise their work. What happens in practice is that the exhibition is forced to lower standards in order to have enough art to show. People listen to the high ideals of the rhetoric, and they can see that the art doesn't match up to it and as a result very little happens except that it undermines the message.

Every time such an event is organised, I always hope I will be proved wrong and perhaps things have improved enough now so that such events will be successful. If so, terrific! Nevertheless, the John Paul II Foundation at least provides some alternative approach that can be responsive and allow the style that connects with congregations today to emerge organically and naturally if it isn't there intitially.Regardless, the John Paul II Foundation at least provides an approach that can be responsive and allow the style that connects with congregations today to emerge organically and naturally if it isn't there intitially. This need not be an alternative - it is method that could be added to existing intitative as well, it seems to me.

For more information or to make a donation, visit their website: www.sacredartnc.org or contact director@sacredartnc.org.

For more information on Cameron Smith and his work, visit www.smithcatholicart.com. Two examples of his work are shown below.

Benedict XVI on the Importance of Music in Catholic Culture and Catholic Education

Here is a fascinating paper by Dr Tom Larson of St Anselm College in Manchester, New Hampshire entitled Man, Music and Catholic Culture. He presented it at the Institute of St Anselm Studies, an annual symposium which takes place the college campus each summer. It has just been published in the proceedings and is now online. Dr Larson examines first the place of music in Greek philosophical tradition and compares this with accounts of two modern commentators. The first, a non-Christian philosopher Allan Bloom, whose thoughts he presents as a foil to a modern Christian view, that of Pope Benedict XVI.

Larson's discussion clearly applies to sacred music and reinforces all that has been said on the importance of music in the liturgy. But he extends this also to the profane and considers the place of music in the wider culture too.

Here is the abstract for the paper:

The topic of this paper is the place of music within the Catholic intellectual tradition. The paper discusses the dignity of music, its relationship to man, and its place in education. The paper begins with the pagan classical treatment of music. The classical account of music is bound up with certain claims about human psychology, education, and culture, as well as certain claims about the universe. Allan Bloom’s discussion of music in the Greek philosophic tradition is examined as a foil to the Catholic vision discussed in the second part of the paper. The second part presents Joseph Cardinal Ratzinger/Pope Benedict XVI’s understanding of music’s place in Catholic culture. Music, along with laws of beauty and order, has its source in God; it contributes to the re-integration of Man and directs him toward union with God in prayer; it has an intimate relationship with the human longing for transcendence; as a universal language, it has a role in evangelization and facilitating inter-cultural dialogue; in its beauty we are enabled to experience the presence of Ultimate Beauty; and in its own and very powerful way, the beauty of the music that has grown out of Christian culture serves as a kind of verification of the Christian faith.

Read the rest of the paper here.

Boethian Rhapsody - An English Translation of Boethius's De Institutione Musica Made Available

I have been frustrated by the fact that it is difficult to get hold of an English translation of the only extant part of Boethius's influential book on music. It had been stored on my laptop, but it crashed last month and I lost all stored files. Finally I found an old email, from about 10 years ago in which somebody sent me a copy. So, to make sure this never happens again, I am going to publish it on my blog so that it is freely available. Here we have the 30 odd chapters of Book 1. So here it is!

Five Books of Music (1)

We will be studying this in an upcoming class at www.Pontifex.University which will be on Sacred Geometry and Sacred Number - the Traditional Mathematics of Beauty and Cultural Transformation which I will be offering in the Fall. By the way, h/t to a fellow blogger Baroque Pearls for the snappy headline. I'd like to take credit but modesty forbids. Incidentally in his article, I am flattered that he took the diagram for the musical harmony from my blog - I know because I drew it. I guess what goes around comes around.

Below are some pictures of diagrams of musical harmony from medieval manuscripts of the book, form. Plus Raphael's painting of Pythagoras with a chalk board with the musical harmony diagram on it! 

Why Faith is the Foundation of Right Philosophy

From where does our worldview come ? If we are worried about the philosophical errors of modernity it would be helpful to be able to answer this question. If all right philosophy is derived from the adoption of right premises, the question then reduces to: how do we choose the axioms, the foundational truths, upon which the whole edifice is built?

The simple answer, it seems to me, is that most people just choose what looks good to them. It is a somewhat arbitrary process, an act of faith of sorts. Discursive reason does have a part to play in this but in my experience it is used most commonly to validate the intuitive choices already made, rather than to investigate their validity with a truly open mind.

Consequently, however rational and well worked out we think we present the case for the Christian worldview, unless people are ready to listen we are unlikely to get anywhere.

If we wish to change people's minds then there are two approaches. One is to examine their worldview rationally and point out any contradictions. As mentioned, this is least likely to convince, simply because on the whole people don't want to listen. If people do want to listen it might be because they are facing a crisis by which, in some way, the contradictions or inadequacies of their current worldview are slapping them in the face.

But even then I suggest that most will still only be prepared to listen if the second approach is taken as well. That is, people must be presented with a set of premises that are better - more attractive - than the ones they already have.

How can we do this?

I would say that this is what the method of the New Evangelization, as described by Benedict XVI, is aiming to do. (I have written an article about this, here).

For Catholics, the strongest presentation of these premises is encountered in the person of Christ in the liturgy. Through this encounter, because we are in relation with Truth, we are more likely to respond with an acceptance of the basic assumptions of, for example, the nature of existence in regard to all that we perceive around us. We say: I am - You are - it is. If this were to happen, in one stroke, the radical skepticism of much of modern philosophy would be banished; and by this we can accept the ideas of objective truth, beauty and goodness.

If this is right, then we can say that the acceptance of the pattern of truth that is the foundation of all good philosophy is made possible by the acceptance of the love of God. For to know Christ we must love Him. As I described in a recent article, the place where this love is most powerfully offered to us is in the liturgy and the acceptance of this love is an act that is termed eros. (See A Reflection on Eros, Acedia and Christian Joy.)

I suggest, therefore, that the best preparation for the study of philosophy for Catholics and the best defense we have against attraction to the errors of modern philosophy is offered to us in the sacred liturgy. That being so, it places a liturgical and mystagogical catechesis, which to my mind is one that is grounded in Sacred Scripture, as a priority in a Catholic education. This point has been made before. Following the work of Leo XIII (Providentissimus Deus), Pius X stressed the importance of the study of Scripture in the formation of priests in his letter Quoniam re biblica.

What about the unbaptised and those who never make it into church? How do we reach them?

The answer is that we must present Christ to them. Again this goes to Benedict XVI's little paper on the New Evangelization. We must become supernaturally transformed and partake of the divine nature - a pixel of light in the transfigured mystical body of Christ, the Church. Then when we relate to others we present them, in some way, in the person of Christ. People will see the pattern of love, that is the foundation of good philosophy in us and be attracted to it...or that's the hope.

Once presented with Truth, people are free to either adopt or reject what they see, but they are unlikely ever to adopt it if they are never  presented with it!

It is possible to discern dimly, the pattern of Christ through creation. The ancient Greeks did so, as we know, through the beauty of the cosmos. But the cosmos does not reveal it as fully as the Church does.

This is why I would say that there is no true philosophy without the Faith, grace and the supernatural; and a lover of true wisdom is always a lover first of divine wisdom.

The good philosopher is really a philohagisopher!

Above, an icon of the personification of Holy Wisdom; and below: an ancient Russian icon of Holy Sophia with her three daughters, Faith, Hope and Love

Above, an icon of the personification of Holy Wisdom; and below: an ancient Russian icon of Holy Sophia with her three daughters, Faith, Hope and Love

Pontifex University Faculty Offering Program in San Francisco Bay Area

Discern Your Personal Vocation and Lead a Joyful Life Here is an article that has appeared recently in both Catholic San Francisco and the Oakland Voice about a program being offered in the Bay Area, which we call the Vision for You. It is on page 5, here.

It is a series of spiritual exercises that I was offered over 25 years ago by a friend. Going through this process led to my conversion to the Catholic faith and to my becoming an artist. Both of these outcomes were against all odds - I was a cynical unhappy atheist when I met my mentor, David; and I couldn't afford to go to art school. What convinced me to give it a go was seeing other people whom he had directed who demonstrated to me, as much in the way they were as anything else, that they had something in their lives that I didn't have.

It was only once I came into the Church that I realised how lucky I had been to have met David. I always felt that this process of systematic discernment is something that should be offered more widely. Over the years I have passed it on to a number people, perhaps 50 or so, and have seen the same thing happen to them - nearly all who stuck with it developed a faith and a good proportion of those became Catholic.

One of the great postives about a Catholic education, such as that offered by Pontifex University, is that it forms to the person to transform the culture. You might say that it helps him to do whatever he does joyfully and gracefully.

The big question, which is often left unanswered, is: 'But what am I meant to do? It's all very well helping me to do something well, but surely it would help me to know what it is that God actually wants me to do, joyfully and gracefully?'

The Vision for You process, which is what I have called the program David gave me, answered these questions for me and so I see it as something that can be offered hand-in-hand with the formation that a genuinely Catholic education offers.

The article in San Francisco Catholic describes how a small group of us, including myself and colleague Pontifex University faculty member, Dr Michel Accad, are hoping to make this process more widely available.

Dr Accad is a medical practioner with a practice in the city of San Francisco, as well as philosopher who has published in the Thomist. He offers a course on the Philosophy of Nature and of Man in the Fall. Dr Accad, for example, has begun to suggest that his depressed patients might like to consider the process.

You can read the full article here (scroll down to page 5).

Catholic Social Teaching and the Market Economy

Anyone who is interested in an overview of Catholic social teaching and the economic policies that are in harmony with it should read this book. It is published by the Institute of Economic Affairs and is available from Amazon or as a free download from the IEA website here - I read it on kindle on my phone from this. If you order a hard copy be sure to get the second edition which is much fuller presentation. The contributors to this book clearly explain, in terms that people without prior knowledge could understand, the main ideas behind Catholic social teaching and consider how they might be realised practically. This is rooted in sound doctrine, and sound economics. This cannot be emphasized enough - so often discussions and public statements of what ought to be in society, even by member of the hierarchy of the Church, seems to be lacks.

The constributors to this book, which is edited by Philip Booth of the Institute of Economic Affairs, explain ideas such as solidarity, subsidiarity and the common good and in the light of these consider how they offer the chance for a society that will give greatest human flourishing. They show how a free society and in accord with this, a free economy, are necessary for such flourishing and how they support natural associations of people which are in harmony with this goal, such as the family.

They explain also why socialism - even the soft socialism of Western European democracies - is bound to undermine them.

This second edition, which takes into account of recent developments in both political economy such as the crash of 2008, examines how differing approaches to taxation, welfare, foreign aid, labour markets, finance and the environment often result in the opposite effect of that sought. If ever we need evidence that passing a law that attempts to enforces a desired economic result usually backfires, we have it here.

It is common for critics of the free market to claim that its proponents have a diminished sense of the human person, of freedom and ignore the importance of culture of beauty and responsibility. These are not accusations that can be levelled at the writers of this book.

Most of those who contributed to this book are connected also to the Acton Institute. This year's annual conference - the Acton University - which took place in June was once again a wonderful and inspiring event. This organization is not just a think tank, it is an 'acton tank' too! In other words it is interested in both practical and intellectual. I heard descriptions of projects in which these principles are put into practice to good effect. There were real answers, borne out by experience, to inner city deprivation (I heard speakers from Detroit and Dallas) to the developing world - the Poverty Cure videos are produced by Acton; to environmental problems.

Learn to Sing the Divine Office In English - Traditional Gregorian Melodies

Here's a new online course with Pontifex University for teachers, parish leaders, community leaders, households or just personal use. For just $90 you can take the course and earn continuing education units in the process. No prior experience necessary. If you sing in the shower, then you can do this! Most of the materials for the course are available for free on the psalm tones page of the blog - thewayofbeauty.org. But if you need help in learning how to use them, this course will teach you sing them.

It is designed so that you can learn to sing the Office and then pass it on to your household, school, parish, community or just sing in your personal icon corner! All the melodies are taken from traditional plainchant. You will learn all eight modes and the tonus peregrinus.

I have a monthly pot luck and Vespers with my friends where I live and it is a wonderful social occasion enjoyed by all that builds community in a city setting - we use all the psalm tones and settings and new people learn this in no time as they go along.

With this course you will learn:

• Traditional melodies and how to apply to them to any form of the Divine Office for example:
  • Paul VI Psalter,
  • Anglican Ordinariate,
  • the online versions from your smart phone, such as Universalis.com;
  • even the Magnificat magazine
• How to teach others to do it too so that you can sing with your friends, family, parish, school or in community.
• How to point any text so you sing these melodies to them. This is the great freedom.
• How to sing the psalms, intone texts and prayers, how to sing the gospel canticles. You can have a 100% sung Vespers or Lauds!
• You can even adapt them easily to any other language, for example Spanish. I even had a friend once who learnt the tones this way and then applied them to Latin psalm in the Extraordinary Form!
• You will be able to download all the materials if you want to -
  • a full pointed psalter is available if you don't feel like pointing your own;
  • gospel canticles with options for simple four-part harmonies;
  • a skeleton Office based upon the form of the Divine Office in the  first centuries of the Church an into which you can insert the psalms of day. This is useful if you find yourself without your usual breviary.
  • Generic antiphon melodies
• You will understand the basic architecture of the modes and their characteristics patterns of notes, intervals, reciting notes and final notes. The modes are like different keys that have a different musical character. Each mode has a characteristic reciting note and concluding note called a final. Through an understanding of this you will be able to discern for each mode a drone not that can be sung as a basic, medieval style harmony and which has a deep spiritual quality.

All 150 Psalms Pointed for Singing, Download for Free

Now with online tutorial teaching you sing them, from Pontifex University Every psalm tone can be applied to all psalms - so if you know even one melody, you can sing the whole psalter

I am so pleased to offer you a full version of the Coverdale psalter pointed for singing - all 150 psalms in a beautiful translation and as sung by the Anglican Ordinariate congregations.

I am grateful to Steve Cavanaugh for all the hard work he has put in to format and edit this (he was helped by a few other friends and past student of mine at Thomas More College of Liberal Arts.

Download it here: Whole Coverdale psalter pointed pdf from the Psalm Tones page on this blog. If you want to know how to sing the psalms with the tones (also available from the psalm tones page), then those with a bit of experience will be able to work it out from the videos and free material available on the psalm tones page of this blog.

Online tutorial: For those who can't work it out from this then I have created an online course at www.Pontifex.University. This cost $90 and is is designed not only to teach you how to sing it, but also to teach you how to teach others and to sing with others, so you can introduce into your family, social groups, parishes, schools. Furthermore it comes with 2o hours (2 units) of Continuing Education credit if you want to persuade your parish or school to help you with the cost.

So what's so good about this?

First, because the text is pointed according to the natural emphases of speech (and not with any one psalm tone in mind) it means that if you can sing one psalm tone from the selection that I give you, then you can immediately sing the whole psalter. So, looking at the example of Psalm 1, above, the 'points' are the little marks above the the last two emphasized syllables in each clause in the text. This pointing does not change if you change the melody you sing. It is fixed by the pattern of speech not by the music you sing to it. So there is a selection of around 90 psalm tones available to you (again for free from the Psalm Tones page on this blog) and every one is designed to be sung to this pointing system. This means that every psalm tone can be applied to any psalm according to preference.

You really can teach someone to sing the psalms in five minutes. I have done it in classes and we have a monthly social evening - pot luck and vespers - in California where I live and I explain to those who attend how to do it, and they pick it up in no time.

Second, this is a beautiful translation of the psalms with poetic but understandible phrasing.

Third, all the 150 psalms are here. In the Paul VI psalter for example, several of the psalms are missing, and about half that are there have missing lines.

Fourth, they are set out over a 30-day cycle to be started on the first of each month in Morning Prayer and Evening Prayer. This makes this ideal for lay people to use as their basic psalter. You don't need to sing seven times a day to sing all the psalms. If you want to add daily prayer or night prayer you can do so of course! This is a 16th century English psalter, left.

Substitute these psalms for the ones in the version of the Office that you use. What you don't get here is the basic structure of each office - for example opening prayers, gospel canticles, closing prayers, scripture readings. That's not a problem. Use whatever version you like - for example Universalis.com Morning Prayer from your smart phone - and just change the psalms. You can substitute the psalms of the day and Office from the Coverdale version, say Evening Prayer for the 14th of the month - for whatever psalms you have in your version. You can even do this with the Magnificat magazine if you want.

And finally, for the entreprenuers out there...if anyone out there wants to publish a psalter using these pointed psalms that can be made available for sale as a printed version, then you have permission to do so. I'd love to see it happen! Ask me for the Word file if you need it.