St Vincent de Paul

Today is the commemoration of St Vincent de Paul (1581 - 1660).

He was born in France, his story is colorful, to put it mildly. He was captured and enslaved as a boy by Turks but escaped because he converted his master and both went to France. He is remembered as someone who devoted his whole life to the service of the poor, but this meant so much more than simply giving alms. He was aware that all people have both material and spiritual needs and to support his work he founded a congregation of priests for missionary work, groups of laymen to help paupers and galley-slaves, and, with St Louise de Marillac, the Sisters of Charity.  See the article in the Catholic Encyclopaedia.

Here are three very different images of him to aid reflection. First an 18th century baroque style portrait. Second a statue in the church that bears his name in Paris, where he lived much of his life. And third a wax efigy that contains relics. 

When I reflect on how his work was directed to the needs of the whole person, body and soul, I am struck by the fact that all people, rich and poor need so much more than basic material needs. Where there is a lack of human love, which speaks of God’s love, there is no dignity. We all need an environment that speaks of God's love and that envirnment is furnished by a culture of beauty.

The measure of our success in this, it seems to me, is not that the poorest part of the city is as wealthy as the richest. Equality of outcome is neither possible, nor even desirable. It’s measure is when the poorest parts of our cities are as beautiful as the wealthiest. This will be the outward sign that all, including both poor and rich live in dignity and are at home in the world; and that we are a society that really does care about their lives of the least amongst us, both in this world and the next.

Currently we are moving towards the polar opposite, every part of the city is as steadily becoming as ugly as every other. The richest part of town looks like a 1960s housing project ( refer you to a recent posting on the new builds on the Princeton campus). This is a sign that for all the rhetoric, our society has little regard for anyone and assumes that once material needs are met, nothing else matters.

This first step, as it did in the past, with beautiful churches that are open to all. When that element is missing, it is usually a sign that everything else that is important is absent too. When I think of our inner cities and their poorest neighborhoods today, I think we have a long way to go before we can consider ourselves a Great Society. As usual I have to start with myself and ask, what am I doing?

It is my struggle to answer this question satisfactorily that makes this week's article so short.

St Vincent, please pray for me.

Discerning My Vocation as an Artist

How I came to be doing what I always dreamed of

Following on from the last piece, as mentioned I am reposting an article first posted about four years ago. In connection with that, it is worth mentioning that one's personal vocation can change as we grow older. I am not necessarily set in the same career or life situation for life. What was fulfilling for me as a young man may not be right for me now. So I do think that regular reassessment is something that should be considered.

I wrote this originally because people regularly ask me how they can become an artists. One response to this is to describe the training I would recommend for those who are in a position to go out and get it. You can read a detailed account of this in the online course now available. However, this is only part of it (even if you accept my ideas and are in a position to pay for the training I recommend). It was more important for me first to discern what God wants me to do. I did not decide to become an artist until I was in my late twenties (I am now 52).  That I have been able to do so is, I believe, down to inspired guidance. I was shown first how to discern my vocation; and second how to follow it. I am not an expert in vocational guidance, so I am simply offering my experience here for others to make use of as they like.......

I am a Catholic convert (which is another story) but influential in my conversation was an older gentleman called David Birtwistle, who was a Catholic. (He died more than ten years ago now.) One day he asked me if I was happy in my work. I told him that I could be happier, but I wasn’t sure what else to do. He offered to help me find a fulfilling role in life.

He asked me a question: ‘If you inherited so much money that you never again had to work for the money, what activity would you choose to do, nine to five, five days a week?’ One thing that he said he was certain about was that God wanted me to be happy. Provided that what I wanted to do wasn’t inherently bad (such as drug dealing!) then there was every reason to suppose that my answer to this question was what God wanted me to do.

While I thought this over, he made a couple of points. First, he was not asking me what job I wanted to do, or what career I wanted to follow. Even if no one else is in the world is employed to do what you choose, he said, if it is what God wants for you there will be way that you will be able to support yourself. He told me to put all worries about how I would achieve this out of my mind for the moment. Such doubts might stop me from having the courage to articulate my true goal for fear of failure. Remember, he said, that if God’s wants you to be Prime Minister, it requires less than the ‘flick of His little finger’ to make it happen. If wanted to do more than one thing, he said I should just list them all, prioritise them and then aim first for the activity at the top of the list.

I was able to answer his question easily. I wanted to be an artist. As soon as I said it, I partly regretted it because the doubts that David warned me about came flooding in. Wasn’t I just setting myself up for a fall? I had already been to university and studied science to post-graduate level. How was I ever going to fund myself through art school? And even if I managed that, such a small proportion of people coming out of art school make a living from art. What hope did I have? I worried that I would end up in my mid-thirties a failed artist with no other prospects. David reassured me that this was not what would happen. This process did not involve ever being reckless or foolish, but I would always need faith to stave off fear.

Next David suggested that I write down a detailed description of my ideal. He stressed the importance of crystallizing this vision in my mind sufficient to be able to write it down. This would help to ensure that I spotted opportunities when they were presented to me. Then, always keeping my sights on the final destination, I should plan only to take the first step. Only after I have taken the first step should I even think about the second. Again David reiterated that at no stage should I do anything so reckless that it may cause me to let down dependants, to be unable to pay the rent or put food on the table.

The first step, he explained, can be anything that takes me nearer to my final destination. If I wasn’t sure what to do, he told me to go and talk to working artists and to ask for their suggestions. There are usually two approaches to this: either you learn the skills and then work out how to get paid for them; or even if you have to do something other than what you want, you put yourself in the environment where people are doing it. For example, he suggested that I might get a job in an art school as an administrator. My first step turned out to be straighforward. All the artists I spoke to told me to start by enrolling for an evening class in life drawing at the local art school.

My experience since has been that I have always had enough momentum to encourage me to keep going. To illustrate, here’s what happened in that first period:  the art teacher at Chelsea Art School evening class noticed that I liked to draw and suggested that I learn to paint with egg tempera. I tried to master it but struggled and after the class was finished I told someone about this. He happened to know someone else who, he thought, worked with egg tempera. He gave me the name and I wrote asking for help. About a month later I received a letter from someone else altogether. It turned out that the person I had written to was not an artist at all, but had been passed the letter on to someone who was called Aidan Hart. Aidan was an icon painter. It was Aidan who wrote to me and who invited me to come and spend the weekend with him to learn the basics. Up until this point I had never seen or even heard of icons. Aidan eventually became my teacher and advisor.

There have been many chance meetings similar to this since. And over the course of years my ideas about what I wanted to do became more detailed or changed. Each time I modified the vision statement accordingly, and then looked out for a new next step – when I realized that there was no school to teach Catholics their own traditions, I decided that I would have to found that school myself and then enlist as its first student. Later it dawned on me that the easiest way to do thatwas to learn the skills myself from different people and then be the teacher.

I was also told that there were two reasons why  I wouldn’t achieve my dream: first, was that I didn’t try; the second was that en route I would find myself doing something even better, perhaps something that wasn’t on my list now. When this happens you will be enjoying so much you stop looking further.

David also stressed how important it was always to be grateful for what I have today. He said that unless I could cultivate gratitude for the gifts that God is giving me today, then I would be in a permanent state of dissatisfaction. In which case, even if I got what I wanted I wouldn't be happy. This gratitude should start right now, he said, with the life you have today. Aside from living the sacramental life, he told me to write a daily list of things to be grateful for and to thank God daily for them. Even if things weren’t going my way there were always things to be grateful for, and I should develop the habit of looking for them and giving praise to God for his gifts. He also stressed strongly that I should constantly look to help others along their way.

As time progressed I met others who seemed to be understand these things. So just in case I was being foolish I asked for their thoughts. First was an Oratorian priest. He asked me for my reasons for wanting to be an artist. He listened to my response and then said that he thought that God was calling me to be an artist. Some years later, I asked a monk who was an icon painter. He asked me the same questions as the Oratorian and then gave the same answer.

What was interesting about all three people so far is that none of them asked what seemed to be the obvious question: ‘Are you any good at painting?’ I asked the monk/artist why and he said that you can always learn the skills to paint, but in order to be really good at what you do you have to love it.

Some years later still, when I was studying in Florence, I went to see a priest there who was an expert in Renaissance art. It was for his knowledge of art that I wanted to speak to him, rather than spiritual direction. I wanted to know if my ideas regarding the principles for an art school were sound. He listened and like the others encouraged me in what I was doing.  Three years later, after yet another chance meeting, I was offered the chance to come to Thomas More College of Liberal Arts in New Hampshire, to do what precisely what I had described to the priest in Florence.

In my meeting with him the Florentine priest remarked in passing, even though I hadn’t asked him this, that he thought that it was my vocation to try to establish this school. He then said something else that I found interesting. He warned me that I couldn’t be sure that I would ever get this school off the ground but he was certain that I should try. As I did so, my activities along the way would attract people to the Faith (most likely in ways unknown to me). This is, he said, is what a vocation is really about.

A Beautiful Pattern of Prayer - the Path to Heaven is a Triple Helix…

...And it passes through an octagonal portal.  

Liturgy, the formal worship of the Church - the Mass and the Liturgy of the Hours, the Eucharist at its centre - is the ‘source and summit of Christian life’. We are made by God to be united with him in heaven in a state of perfect and perpetual bliss, a perfect exchange of love. All the saints in heaven are experiencing this and liturgy is what they do. It is what we all are made to do; this how it is the summit of human existence. Our earthly liturgy is a supernatural step into the heavenly liturgy, this unchanging yet dynamic heavenly drama of love between God and the saints; and the node, the point at which all of the cosmos is in contact with the supernatural is Christ, present in the Eucharist. It is more fantastic than anything ever imagined in a sci-fi drama. There is no need to watch Dr Who to see a space-time vortex, when I take communion at Mass (assuming I am in the proper state of grace) I pass through one. And there’s no worry about hostile aliens, that battle is fought and won.

Everything else that the Church offers and that we do is meant to deepen and intensify our participation in this mystery. Through the participation in the liturgy, we pass from the temporal into a domain that is outside time and space. Heaven is a mode of existence where all time, past and future is compressed into single present moment; and all places are present at a single point.

Our participation in this cannot be perfect in this life, bound as we are by the constraints of time and space. We must leave the church building to attend to the everyday needs of life. However, this does not, in principle, mean that we cannot pray continuously. The liturgy is not just the summit of human existence; it is the source of grace by which we reach that summit. In conforming to the patterns and rhythms of the earthly liturgy in our prayer, we receive grace sufficient to sanctify and order all that we do, so that we are led onto the heavenly path and we lead a happy and joyous life. This is also the greatest source of inspiration and creativity we have. We will get thoughts and ideas to help us in choices that we make at every level and which permeate every action we take. Then our mundane lives will be the most productive and fulfilling they can be.

How do we know what these liturgical patterns are? We take our cue from nature, or from scripture. Creation bears the thumbprint of the Creator and through its beauty it directs our praise to God and opens us to His grace. The patterns and symmetry, grasped when we recognize its beauty, are a manifestation of the divine order.

Traditional Christian cosmology is the study of the patterns and rhythms of the planets and the stars with the intention of ordering our work and praise to the work and praise of the saints in heaven. This heavenly praise is referred to as the heavenly liturgy. The liturgy that we participate, which is connected supernaturally to the heavenly liturgy is called the earthly liturgy. The liturgical year of the Church is based upon these natural cycles of the cosmos. By ordering our worship to the cosmos, we order it to heaven. The date of Easter, for example, is calculated according to the phases of the moon. The earthly liturgy, and for that matter all Christian prayer, cannot be understood without grasping its harmony with the heavenly dynamic and the cosmos. In order to help us grasp this idea that we are participating in something much bigger that what we see in the church when we go to Mass, the earthly liturgy should evoke a sense of the non-sensible aspect of the liturgy through its dignity and beauty and especially the beauty and solemnit of the art and music we use with it. All our activities within it: kneeling, praying, standing, should be in accordance with the heavenly standard; the architecture of the church building, and the art and music used should all point us to what lies beyond it and give us a real sense that we are praising God with all of his creation and with the saints and angels in heaven.  When we pray in accordance with these patterns we are opening ourselves up to God’s helping hand at just the moment when it is offered. This is the prayer that places us in directly in beam of the heat lamp of God’s grace.

The harmony and symmetry of the heavenly order can be expressed numerically. For example, because of the seven days of creation in Genesis there are seven days in the week (corresponding also to a half phase of the idealised lunar cycle). The Sunday mass is the summit of the weekly cycle. In the weekly cycle there is in addition day, the so-called eighth ‘day’ of creation, which symbolises the new order ushered in by the incarnation, passion, death and resurrection of Christ. Sunday the day of his resurrection, is simultaneously the eighth and first day of the week (source and summit). Eight, expressed as ‘7 + 1’ is a strong governing factor in the Church’s earthly liturgy. (It is why baptismal fonts and baptistries are constructed in an octagonal shape and why you might have octagonal patterns on a sanctuary floors.)

Without Christ, the passage of time could be represented by a self enclosed weekly cycle sitting in a plane. The eighth day represents a vector shift at 90° to the plane of the circle that operates in combination with the first day of the new week. The result can be thought of as a helix. For every seven steps in the horizontal plane, there is one in the vertical. It demonstrates in earthly terms that a new dimension is accessed through each cycle of our participation temporal liturgical seven-day week.

The 7+1 form operates in the daily cycle of prayer in the Divine Office too. Quoting Psalm 118, St Benedict incorporates into his monastic rule the seven daily Offices of Lauds, Prime, Tierce, Sext, None, Vespers, and Compline; plus an eighth, the night or early-morning Office, Matins.

Prime has since been abolished in the Roman Rite, but usually the 7+1 repetition is maintained by having daily Mass (not common in St Benedict’s time). Eight appears in the liturgy also in the octaves, the eight-day observances, for example of Easter. Easter is the event that causes the equivalent vector shift, much magnified, in the annual cycle. The Easter Octave is eight solemnities – eight consecutive eighth days that starts with Easter Sunday and finishes the following Sunday.

These three helical paths run concurrently, the daily helix sitting on the broader weekly helix which sits on the yet broader annual helix. We are riding on a roller coaster triple corkscrewing its way to heaven. This, however, is a roller coaster that engenders peace.

For those who are not aware of this, more information on this topic and how to conform you're life to this pattern, read The Little Oratory; A Beginner's Guide to Prayer in the Home and especially the section, A Beautiful Pattern of Prayer.

Pictures: The baptismal font, top, is 11th century, from Magdeburg cathedral. The floor patterns are from the cathedral at Monreale, in Sicily and from the 12th century. The building is the 13th century octagonal baptistry in Cremona, Italy.

How to Make an Icon Corner

Beauty calls us to itself and then beyond, to the source of all beauty, God. God's creation is beautiful, and God made us to apprehend it so that we might see Him through it. The choice of images for our prayer, therefore, is important. Beautiful sacred imagery not only aids the process of prayer, but what we pray with influences profoundly our taste: praying with beautiful sacred art is the most powerful education in beauty that there is. In the end this is how we shape our culture, especially so when this is rooted in family prayer. The icon corner will help us to do that. I am using icon here in the broadest sense of the term, referring to a sacred image that depicts the likeness of the person portrayed. So one could as easily choose Byzantine, gothic or even baroque styles. The contemplation of sacred imagery is rooted in man’s nature. This was made clear by the 7th Ecumenical Council, at Nicea. Through the veneration icons, our imagination takes us to the person depicted. The veneration of icons, therefore, is an aid to prayer first and it serves to stimulate and purify the imagination. This is discussed in the writings of Theodore the Studite (759-826AD), who was one of the main theologians who contributed to the resolution of the iconoclastic controversy.

In emphasising the importance of praying with sacred images Theodore said: “Imprint Christ…onto your heart, where he [already] dwells; whether you read a book about him, or behold him in an image, may he inspire your thoughts, as you come to know him twofold through the twofold experience of your senses. Thus you will see with your eyes what you have learned through the words you have heard. He who in this way hears and sees will fill his entire being with the praise of God.” [quoted by Cardinal Schonborn, p232, God’s Human Face, pub. Ignatius.]

It is good, therefore for us to develop the habit of praying with visual imagery and this can start at home. The tradition is to have a corner in which images are placed. This image or icon corner is the place to which we turn, when we pray. When this is done at home it will help bind the family in common prayer.

Accordingly, the Catechism of the Catholic Church recommends that we consider appropriate places for personal prayer: ‘For personal prayer this can be a prayer corner with the sacred scriptures and icons, in order to be there, in secret, before our Father. In a Christian family kind of little oratory fosters prayer in common.’(CCC, 2691)

I would go further and suggest that if the father leads the prayer, acting as head of the domestic church, as Christ is head of the Church, which is His mystical body, it will help to re-establish a true sense of fatherhood and masculinity. It might also, I suggest, encourage also vocations to the priesthood.

The placement should be so that the person praying is facing east. The sun rises in the east. Our praying towards the east symbolizes our expectation of the coming of the Son, symbolized by the rising sun. This is why churches are traditionally ‘oriented’ towards the orient, the east. To reinforce this symbolism, it is appropriate to light candles at times of prayer. The tradition is to mark this direction with a cross. It is important that the cross is not empty, but that Christ is on it. in the corner there should be representation of both the suffering Christ and Christ in glory.

‘At the core of the icon corner are the images of the Christ suffering on the cross, Christ in glory and the Mother of God. An excellent example of an image of Christ in glory which is in the Western tradition and appropriate to the family is the Sacred Heart (the one from Thomas More College's chapel, in New Hampshire, is shown). From this core imagery, there can be additions that change to reflect the seasons and feast days. This way it becomes a timepiece that reflects the cycles of sacred time. The “instruments” of daily prayer should be available: the Sacred Scriptures, the Psalter, or other prayer books that one might need, a rosary for example.

This harmony of prayer, love and beauty is bound up in the family. And the link between family (the basic building block upon which our society is built) and the culture is similarly profound. Just as beautiful sacred art nourishes the prayer that binds families together in love, to each other and to God; so the families that pray well will naturally seek or even create art (and by extension all aspects of the culture) that is in accord with that prayer. The family is the basis of culture.

Confucius said: ‘If there is harmony in the heart, there will be harmony in the family. If there is harmony in the family, there will be harmony in the nation. If there is harmony in the nation, there will be harmony in the world.’  What Confucius did not know is that the basis of that harmony is prayer modelled on Christ, who is perfect beauty and perfect love. That prayer is the liturgical prayer of the Church.

A 19th century painting of a Russian icon corner

How to Pray With Visual Imagery

It is now more than three and a half years since I started this blog so first of all I would like to thank so many of you for your interest and your comments. I am currently involved in several book projects which will be published in the early part of next year - more information to come. In order to give myself time to write these, I thought I would reduce my postings to one fresh piece per week. However, it also occurred to me that many of you who read this, will not have seen much of what I posted in the first two years. In my mind, these are foundational to my thinking and shed light on much of what I write now, so I thought they would be worth repeating. So for these two reasons I thought I would replay some of these foundational posts. So for the next couple of months, I will alternate old and new. The first replay was first published in April, 2010: When I first started painting icons I was, of course, interested in knowing as well how they related to prayer. I was referred by others (though not my icon painting teacher) to books that were intended as instruction manuals in visual prayer. I read a couple and perhaps I chose badly, but I struggled with them. One the one hand, they seemed to be suggesting some sort of meditative process in which one spent long quiet periods staring at an icon and experiencing it, so to speak, allowing thoughts and feelings to occur to me. Being by nature an Englishman of the stiff-upper-lip temperament (and happy to be so) I was suspicious of this. I had finally found a traditional method of teaching art that didn’t rely on splashing my emotions on paper, and here I was being told that in the end, the art I was learning to produce was in fact intended to speak to us through a heightened language of emotion. Furthermore, the language used to articulate the methods always seemed to employ what struck me as pseudo-mystical expressions and which,  I suspected, were being used to hide the fact that they weren’t really saying very much.

So I started to ask my teacher about this and to observe Eastern Christians praying with icons. What struck me was that prayer for them seemed to be pretty much what prayer was for me. They said prayers that contained the sentiments that they wished to express to God. The difference between what they did and what I did at that time was that they turned and looked at an icon as they prayed. Also, when at home, often happily and without embarrassment they sang their prayers using very simple, easily learnt chant. Before meals, for example, the family would stand up, face an icon of Christ on the wall and sing a prayer of gratitude or even just the Our Father.

As I learnt more about icons through learning to paint them, I realized that every aspect of the style of an icon is worked out to engage us in a dynamic that assists prayer – through its form and content the icon will do the work of directing our thoughts to heaven. In short I don’t need to ‘do’ anything. The icon does the work for me.

The iconographic form is not the only one to do this. The Western Catholic tradition is very rich and has also the Baroque and gothic art forms that are carefully worked out to engage the observer in a dynamic of prayer, although in different ways. If the icon draws our thoughts to heaven, the baroque form is designed in contrast to have an impact at a distance in order to make God present on earth. The gothic figurative art is the art of pilgrimage, or of transition from earth to heaven, and stylistically it sits between the iconographic and baroque. It is the ‘gradual psalm’ of artistic form. Just like the spires of its architecture, it spans the gap between heaven and earth so that we have a sense both of where we going to and where we are coming from. I will discuss how the form of each tradition achieves in the next articles I write.

So the advice I was given was to ditch the books about praying with icons, and learn first to pray. Then as I pray always aim to have visual imagery that I allow to engage my sight and which assists. St Augustine said that those who sing their prayers pray twice. I would add that those who look at visual imagery as well pray three times (and if we use incense four times, and consider posture five). This process of engaging different aspects of the person in addition to the intellect is a move towards the ideal of praying with the whole person. This is what praying from the heart means. The heart is the vector sum of our thoughts and actions. It is our human centre of gravity when both body and soul are considered. It is the single point that, when everything is taken into account, defines what I am doing. It is the heart of us, in the sense of representing the core. This is why it is a symbol of the person. It is a symbol of love also because each of us is made by God to love him and our fellow man. It symbolizes what we ought to be rather than, necessarily, what we are. The modern world has distorted the symbolism of the heart into one of desire and ‘heartfelt’ emotion, precisely because these are the qualities that so many today associate with the essence of humanity.

The liturgy is ultimate form of prayer. By praying with the Church, the mystical body of Christ, we are participating in ‘Christ's own prayer addressed to the Father in the Holy Spirit. In the liturgy, all Christian prayer finds its source and goal.’[1] Therefore, the most important practice of praying with visual imagery is in the context of the liturgy. For example, when we pray to the Father then we look at Christ, for those who have seen Him have seen the Father. The three Catholic figurative traditions in art already mentioned were developed specifically to assist this process.

Just as the liturgy is the ‘source and goal’ of prayer, so liturgical art is, I would argue, the source and goal of all Catholic art. The forms that are united to the liturgy are the basis of Catholic culture. All truly Catholic art will participate in these forms and so even if a landscape in the sitting room, will point us to the liturgical. We cannot become a culture of beauty until we habitually engage in the full human experience of the liturgy. In the context of visual art, this practice will be the source of grace from which artists will be able to produce art that will be the basis of the culture of beauty; the source of grace and from which patrons will know what art to commission; and in turn by which all of us will be able to fulfill our vocation, whatever it may be, by travelling on the via pulchritudinis, the Way of Beauty, recently described by Pope Benedict XVI.

Of course, each individual (depending upon his purse) usually has a limited influence on what art we see in our churches. However, as lay people, we can pray the Liturgy of the Hours and control imagery that we use. The tradition of the prayer corner, in which paintings are placed on a small table or shelf at home as a focus of prayer, is a good one to adopt.  We ‘orientate’  our prayer towards this, letting the imagery engage our sight as we do so. We can also sing, use incense and stand, bow, sit or kneel as appropriate while praying. A book I found useful in this regard, which describes traditional practices is called Earthen Vessels (The Practice of Personal Prayer According to the Patristic Tradition) by Gabriel Bunge, OSB

Does this mean that meditation of visual imagery is not appropriate? No it does not. But as with all prayer that is not liturgical, it is should be understood by its relation to the liturgy. So just as lectio divina, for example, is good in that it is ordered to the liturgy because through it our participation in the liturgy is deepened and intensified. So, perhaps, should meditation upon visual imagery should be understood in relation to the use of imagery in the liturgical context. Also, I would say that it is useful, just as with lectio, to avoid the confusion between the Western and Eastern non-Christian ideas of meditation and contemplation are. I was recommended a book recently that helped me greatly in this regard. It is called Praying Scripture for a Change – An Introduction to Lectio Divina by Dr Tim Gray.

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[1] CCC, 1073

Using the Principles of the Liturgy and Beauty in Retail

High Shelf Esteem! When James Woodward, owner of Woodward Menswear, decided to open a second high-end men’s clothes shop he wanted to model it upon the principles he had read about in the Way of Beauty. He had already started to put some of the principles into practice in his first shop, in Oxted in Surrey, England and had been encouraged the results. Because he was beginning with a blank page in this new venture, he saw the opening of his second shop in Banstead, also in Surrey, as an opportunity to use them more fully. I received a telephone call from him earlier this year asking for ideas about the layout and decoration of the new place. He had already been trying some of these things out in the first shop, but hadn’t been able to implement them properly because a lot of the things were already set differently when he had thought about introducing them. Nevertheless the changes that he was able to make had made an impact he thought. The local bank manager had told him at one point, in the deepest part of the recession, that his was the only business on his books that showed any significant signs of growth. ‘I had been making money and I felt that this had contributed. The growth of the business is helping to fund the investment in this new shop. But it isn’t just the money,’ he told me. ‘The principles that I had been able to try seemed to show me a way of having the values of my Catholic faith penetrate much more deeply than before the everyday activities of business.’

James is a Catholic convert of about 10 years. I had known him for several years because we both attended the London Oratory when I lived in London. We had had conversations about the Way of Beauty over the years, just as a result of staying in touch and his curiosity about what I was up to over here. At some point he started to ask me how he might introduce into what he was doing in his first shop. Even so, I was surprised to be asked recently to contribute so much to the new project.

So what has he done? As a starting point I suggested that whatever he does he constantly ask himself the question, is this beautiful? And to be prepared to go against the trend of modern design if necessary. I did offer some specific points:

• The general layout is one that gives a general impression of symmetry and order. I suggested that he introduce some details of asymmetry. If it is too rigidly symmetrical it would be cold and sterile. He went directly against the advice of his retail designers here, who were recommending more sweeping and turning curves in the layout; and asymmetry ordered to the personal intuition of the designer. I suggest that the colour scheme should be based around natural earth colours if possible.
• The clothes are presented on shelves and I suggested that the spacing of the shelves should not be even, but should vary so that the largest spacing is at the bottom and smallest at the top, mimicking the proportions of storey size in traditional architecture.
• He has the natural beauty of plants in the shop too, either pot plants or cut flowers. Because there are people walking around the shop, this meant that he had to design into the layout spaces and shelves just for this purpose so that the arrangements could be placed without impeding the flow of people or the views of the clothes he was selling.
• I told him to try to avoid pop or rock music and again, if you have music to opt for something that is beautiful. I am not completely against all pop music per se, but even good music that is designed for dancing at midnight is unlikely to promote calm and peace, which is what we were aiming for here. In the end James opted for no music at all. He was really sticking his neck out here. Almost all retailers install music systems and have background music constantly. The outfitters cite scientific studies that prove that when you play such music, people stay for a shorter period of time and buy more quickly. Also the staff initially wanted it too for their own entertainment. He is not certain he wants to maintain the silent vigil and is considering using classical music.
• I felt it was important to have the face of Christ as a focus in the décor (a good principle for all main rooms in a building). In the end he bought a small icon of the mandylion and put it on the wall behind the till. This meant that every customer who went to the counter would see it. In his previous shop James put also a nativity scene in the window every Christmas and he intends to the same here. Aside from any thoughts about décor, he wanted to bear witness to his faith in an open, but quiet way.  Again, the advice of the professionals on this one was the exact opposit! It would offend and put off non-Christians he was told. He has had no complaints from customers since he did this, and several complementary remarks. Small children were pulling their parents into the shop as a result of the nativity in the window.
• Finally, I had suggested that he pray the Liturgy of the Hours as part of his spiritual life and even if he couldn’t pray all the hours, try to mark each Office with a prayer of some sort. He might, I thought, consciously dedicate this prayer as a sacrifice for the well being of his employees and customers.

The photographs of the shop and are shown, so you can make your own mind up about the look. The shelves are solid oak veneer and the flooring is solid oak coupled with pure-wool carpeting.  The paintwork is all natural-pigment traditional paint (produced to re-create eighteenth-century decorative schemes). What strikes me is that although traditional proportions and materials have been used, it has a clean-cut modern look. This is not trying to recreate and Italian villa or a Georgian town house. The modifications are subtle.

Clearly,  using these high quality materials involves a greater outlay than the usual materials. He has now been going for about three months and when I spoke to him recently I was interested to know: did he feel the extra investment had been worthwhile?

‘The look of the place has had an impact. Several customers and other local retailers have complimented the shop actually using the word “beautiful”. For example I was at the local newsagents and the lady behind the till engaged me conversation. When she realized I was from the new Woodward Menswear she immediately told me that people had been saying to her how beautiful the shop was.

‘Many customers have told me how comfortable and inviting the shop is and one top-notch fellow fashion retailer said it was a really beautiful shop and “very calming”. What I find so interesting is that they can't really tell why it is. they respond to the overall look but they can't say why. I haven't made it look like a Victorian shop or anything, the look is similar in many respects to other shops, but the modifications are subtle. I think that unless it was pointed out to them, for example, they wouldn't know that the shelves are spaced differently to other places.’

And the bottom line?

‘It’s early days of course, but I am very pleased. We are already making as much money as my first shop, which I bought as a business of 30 years standing and have been running for several years. This is better than I had expected. Of course, these beautiful features are not the only thing that will be contributing to the business.  I have learnt a lot about retail while running my first shop and so have put many lessons in to practice in this second. I still had to get the location and the stock right along with all the other business variables. However, if it’s only for the comments and my own pleasure at working in such a lovely environment, I definitely feel that it has been worthwhile.’

What about the future? James pointed out to me that this was done on the basis of reading blog articles and an hour’s telephone conversation. He wants to know more about the Way of Beauty.

‘I am impressed by the impact that this has had and I get the feeling that I am scratching the surface here. I do my best but I don’t know much about the Liturgy of the Hours or how to pray it and I definitely could learn more about how these proportions are linked to the liturgy. I am planning on coming over to the creativity retreat at Thomas More College in New Hampshire in August. And I will probably pay a visit to the menswear shops in Boston while I’m here too, just to see how they do it over there!’

Clothes fit for a Church Father - Boethian proportions were used for the shelf spacing.

The Liturgy and Community

Our own sense of who and what we are is based upon the relationships we have with others. If you go around a group of people and ask them to describe themselves, apart from their name they will talk about themselves in terms of their relationships with others: for example, ‘I work with this company’, ‘I am a father and I have three children’. This is the essence of a person, as distinct from an individual. A human person is always in relation with others, starting from birth. No one, by choice, disengages from society altogether (not even a hermit) and is happy. This understanding of the human person has a profound effect on how we view what society is. A relationship of the sort we are now envisioning is always between two subjects, that is two people freely cooperating as moral agents. This is termed covenantal and is based upon mutual self-sacrifice on behalf of the other - love. This freedom to respond as a person is one of the essential elements of society. Society therefore is the vector sum of the relationships within it. It is not a collective of self-contained individuals.

A human relationship is an entity in itself. Two people create, through the properly ordered love between them, a relationship that is distinct from each person, and does not destroy either’s integrity.

It is analogous, I think, to a chord created by two notes played simultaneously. We perceive the chord as something distinct created by the proximity of two notes, but the integrity of each note is not diminished by it. Something has been created out of nothing. This creation out of nothing is ‘superabundance’; love is always superabundantly fruitful (an example is the creation of the third person in a family). A loving relationship is created out of the harmony that exists between two hearts when each acts for the good of the other. There is a song (by U2 I think) that describes love as two hearts beating ‘as one’. In fact it might be more accurate to say that when love is present, two hearts beat not as one, but as three.

By using the word ‘love’ I do not always have in mind profoundly deep relationships. Any relationship, however casual, can reflect a motive for the good of the other. Even a cheery hello to a shopkeeper can reflect either a loving or self-centred motive. This means that whatever I do I bring to the party, so to speak, an aspect of every relationship that I have. I represent to some degree every community of which I am part – family, work, parish, tennis club and so on.

Liturgical activity is an act of love, in which I participate in the sacrifice made by Christ for all humanity. In participation of this supreme act of love is a transforming experience that by degrees changes me and makes me a better lover (and God knows, there is much room for improvement). This means that through every relationship I have, every other person and community with whom I relate benefits profoundly from my participation. Participation in the liturgy is a sacrifice of love their behalf. The effect is through what one hopes subsequently might be a more loving direct interactions with each person; but also because I am transformed through this participation, the relationship that exists between us and my prayers and intentions for them in the liturgy facilitate a supernatural transformation to the same degree and through my intentions for those people in the liturgy.

The liturgy therefore is the binding principle of society and those communities in which I participate. Family, friends, parish, Church, workplace, living quarters, country – will all benefit from my participation in the liturgy. This is so even when I am the only person who is doing this and no one else knows of my participation. When I go to Mass or pray the liturgy of the hours, I try to remember to consciously dedicate that day’s prayer to all those groups and individuals with whom I relate.

There is a maxim that the family that prays together, prays together. In the encyclical Marialis Cultus (On the Right Ordering and Development of Devotion to the Blessed Virgin Mary), as well as describing how praying with Christ in the Liturgy is the fullest expression of devotion to Mary, Paul VI calls the Liturgy of the Hours the 'highpoint which family prayer can reach'.(54)

By extension, I suggest, this is true for all communities. The benefit of this liturgical participation in the sacrifice of Christ is magnified if the community prays in community. Unless its raison d’être is communal prayer it is rare that in any community every single member can or would even want to pray regularly with his fellows. But by degrees it is possible to move towards this ideal anywhere. If practicalities allow (and we must be aware that often they will not) a visible posting of regular times that the Liturgy of the Hours is prayed with an invitation for any member to join, would invoke the public nature of liturgy. If that invitation extends to the general public to attend the community prayer, the better still. At Thomas More College we are lucky to have priests who can say daily Mass; in addition a core of devotees to the Liturgy of the Hours have organized a rota by which we do our best to ensure that two or three of us at least pray Lauds and Vespers each day for the community.

Culture reflects the cult that is at the core of it. However modest the fulfilment of this ideal, this is the means by which the culture of community or organization can be transformed to a Catholic culture that will be in harmony with all other institutions and social groups and work for the common good. It is no surprise, therefore, that any organization, such as many businesses which typically give no thought to liturgical piety at all, reflect a secular culture. So much so, that it doesn’t even occur to many people that the workplace can be or can even aspire to be a community. Consequently it is taken for granted that while it might contribute to the financial support of the families who work there, that it is intrinsic to business that it will undermine the family (for example through demands of time) and so many other aspects of an ordered culture. I do not accept this.

This suggests though that any attempt to change things in a community or organization that does not consider its culture and what culture really is will be dealing with symptoms not causes; and the problems even if apparently solved will eventually reappear elsewhere or in a different form. It is like the Tom and Jerry cartoons when Tom has hit on the head with a giant mallet and has a huge bump on his head. In response he puts his hand on the top of it and pushes it down until the scalp is once again smooth. The only problem is that as the first bump diminishes, a second appears on the side of his head and grows. The end result is that the bump has simply moved. Most organizational change I have seen in the workplace has struck me as bump moving, rather than bump healing.

In the end, I suggest, that answer is always the same: to change a culture you must change the cult.

The Way of Beauty and the New Evangelisation

Why an education in beauty and the Liturgy of the Hours are important in the formation of lay people as part of the New Evangelisation. Thomas More College of Liberal Arts was treated to a lecture by a husband-and-wife team of theologians who both teach at St John's Seminary at Boston. David and Angela Franks run the newly established Masters of Theological Studies for the New Evangelization. Although based at the Seminary, this is aimed at lay formation and can be taken on a part-time basis. It is the first new programme of the Seminary's newly established, Theological Institute for the New Evangelisation (TINE). David and Angela inspired our students (and myself!) with the vision that the Church has for the role of lay people in evangelising the modern world, charactererised by John Paul II as the New Evangelisation. All this is invaluable in itself, but what surprised and interested me particularly was their assertion that an education in beauty is an essential element in the formation of the individual who is going to be carry out their mission of taking the Word to the world. Furthermore, they highlighted the importance of the Liturgy of the Hours in this education.

They described a process that is both active and reactive. The active role is one of living the life of faith, which is ultimately living the life of love that God intends for us. And we should do so, they said, without apologising for it!

There is a description in the Acts of the Apostles of the growth of the early Church in which people were attracted to the Christian life, we are told, 'because they loved each other'. When we lead a life of love then our lives will be beacons of light that will arouse curiosity in this secular society. Love is not so much a set of feelings but rather a set of actions motivated for the good of the other. That requires fortitude especially because it is precisely this that will cause us to stand out in the crowd and because, as David puts it, we live in an age when 'powerful forces are arrayed against true love'.

That light will be brightest when we are answering most completely the personal vocation that God has made to us (aside from following the commandments of the Church). The determination of this personal vocation is an important early step therefore. I was lucky in my own life in being given some inspired guidance in trying to discern what this might be. This has ended up in me doing what I am now at Thomas More College. I have described the process here. The programme at the St John's Seminary offers guidance also in this first step.

The second part is reactive. When people see a life of love it arouses curiosity and they ask questions. At this point we need to be able to answer them truthfully and prudently. Part of the programme at St John's is about equipping people with knowledge of the truth - we must know what the Church teaches, or at the very least, where to go to find out what the Church teaches.

But also, we must present this information in such a way that it continues to attract people. Force of logic will only take you so far. It is not just what you say, but how you say it. Prudence guides this. While knowing what to say and when can be trained in some ways directly, so much of this is about developing an intuitive sense of it. A key principle in operation here is beauty. When we do something attractively, we are doing it beautifully. This is why a training in beauty is so important, we were told. It develops that instantaneous intuitive sense of knowing what to do best.

After the talk there was a lively question and answer session and one student asked directly. What should we be aiming for in our spiritual lives in order to be able to achieve this? To my great delight, David answered without hesitation, that beyond the basic requirements of the sacramental life, he felt that the Liturgy of the Hours was a powerful and 'supremely effective' form of prayer.

David and Angela invite everyone who might be interested to take a look at the exciting opportunities for lay people offered by St John's Seminary. You can find out more by going to the www.sjs.edu and clicking on the 'TINE' logo.

For a growing series of articles about the Liturgy of the Hours as part of The Way of Beauty, see here.

Thomas More College of Liberal Arts offers a traditional education in beauty, incorporating the Liturgy of the Hours as one of the key components of the spiritual life of the college. The course, The Way of Beauty is part of its core curriculum with the intention of offering our students to best chance of coming out as ambassadors of the New Evangelisation.

In addition, our summer programme has short courses open to everyone to teach precisely this. Artists and musicians can learn it in conjunction with the skills of icon painting, academic drawing or Gregorian chant in our two-week programmes in July. Our weekend retreat in creativity and inspiration in August offers everyone else the chance to learn the traditional education in beauty - developed as part of the training of artists - but without having to learn the artistic skills. For more information about all of these courses see here.

Images Top and bottom: The Calling of St Matthew by Hendrick ter Brugghen, 1621; candles at the Birmingham Oratory, England; The Presentation of Jesus at the Temple (Candlemass) by Tintoretto, c1550

The Principles of a Traditional Art Education for Today

When I first met the president of Thomas More College of Liberal Arts, in Merrimack, New Hampshire, he asked me to describe my ideas for an art school that could contribute train artist to serve the Church. This was relatively easy for me to do. Inspired by John Paul II’s Letter to Artists,  I had been on a mission for several years to establish such a school and so describing it was something I had done many times. I described how I would give a training that was rooted in traditional principles, teaching an understanding of what they were doing, so that the tradition becomes a living tradition. A living tradition can develop and respond to the needs of the time without compromising on the timeless principles of beauty, truth, goodness and unity that underlie all genuinely Catholic art. This would enable us I said, to produce art for both sacred and profane settings, and contribute to the establishment of the art of Vatican II. This will evoke the art of the past, yet be distinct and in many ways of a previously unimagined in style. It will characterise our era as beautifully and distinctly as the Romanesque, the Gothic and the Baroque did theirs.

The aim of such an education are threefold: to train in the practical skills; to increase in the individual an ability to apprehend beauty; and to open the individual up to inspiration from God through a disciplined training that looks to Masters for guidance.

Following traditional patterns of art training, there are five aspects (in no particular order):

1. The study of past Masters of the traditions of Christian art – imitating them with understanding so that the students learn a visual vocabulary of art. In his Spirit of the Liturgy, Pope Benedict XV cites the icongraphic (of which the Romanesque is a Western variant), the gothic and the baroque ‘at its best’ as authentic liturgical forms.
2. The direct observation of nature: this is the study of the work of the greatest Artist.
3. Practice and study of abstract art in the Christian tradition and the principles of proportion and compositional design (sometimes called ‘sacred geometry’).
4. Learning the theory of Christian art – an understanding of the Catholic worldview and the Church as it relates to art (theology, philosophy, liturgy linked to form and content) so that they understand all that they are practising.
5. Finally, the development of a spiritual life that will open the student up to inspiration (should God choose to send it): artists are unlikely to be able to produce work that inspires prayer and devotion in others, if they are not practised in using visual imagery in prayer themselves.

Students would have an exposure to each of these elements. As study progresses, they would specialise in one of the artistic traditions listed, or into the development of new art forms consistent with the principles they have learnt and as required by the Church.

The president listened without interruption and then asked me a further question. What about those who aren’t going to be artists, can you provide a training that could be part of the core liberal-arts programme as an education in beauty?

I had never been asked this before. I stopped for moment to think before responding, then realized that this really was possible. The traditional artistic training not only taught people the skills, but also the ability to apprehend beauty. This aspect, I was certain could be taught to all and the result would be a transformation of the individual, for to open up someone to beauty, is to elevate their souls to God and to increase their capacity to love what is good. There would be change in emphasis, the practical elements would be there, but those aspects that would not be intimidating to someone who did not consider themselves good at art would be brought to the fore.

The result of this meeting was that I was invited to come to TMC to implement exactly what I had described. The first stage was to be the programme for undergraduates; this would be followed by the gradual identification of gifted artists from the undergraduate body, who would form the core of the specialist art school. I would be looking for those who not only wished to be artists, but were fired by the vision of the college and wanted to play a part in creating the ‘new epiphany of beauty’ called for by Pope John Paul II in his Letter to Artists.

This Fall, Thomas More College starts its Way of Beauty programme to be taken by all freshman (and offered as an elective for other students). It is a course that is, as far we know, unique in the world. It draws on the principles articulated by figures from the early Church, such as Augustine and Boethius and which have been drawn to our attention recently by John Paul II and especially Benedict XVI. What I had described in my interview were the principles of the quadrivium, the ‘four ways’ (the higher part of the traditional seven liberal arts).

The traditional quadrivium is essentially the study of pattern, harmony, symmetry and order in nature and mathematics viewed as a reflection of the Divine Order. When we perceive something as reflecting this order, we call it beautiful. For Christians this is a source, along with Tradition, that provides the model upon which the rhythms and cycles of the liturgy are based. Christian culture, like classical culture before it, was also patterned after this cosmic order; this order which provides the unifying principle that runs through every traditional discipline. Literature, art, music, architecture – all of creation and potentially all human activity – are bound together by this common harmony and receive their fullest meaning in the liturgy. This course teaches a deep understanding of these principles and how they link the liturgy, ie the cult, to its culture. When we apprehend beauty we do so intuitively. So an education that improves our ability to apprehend beauty develops also our intuition. All creativity is at source an intuitive process. This means that professionals in any field would benefit from an education in beauty because it would develop their creativity. Furthermore, the creativity that an education in beauty stimulates will generate not just more ideas, but better ideas. Better because they are more in harmony with the natural order. The recognition of beauty moves us to love what we see. Such an education would tend to develop also, therefore, are capacity to love and leave us more inclined to serve God and our fellow man. The result for the individual who follows this path is joy.

This course not only teaches the students an understanding of these principles. It teaches them how to apply them. The course is directed towards the creation of beauty as well the appreciation of it. We will chant the Liturgy of the Hours, relating not only the structure of the Office itself to the Mass and the Heavenly Liturgy, but the form of the music to the harmonious principles that are replicated in the visual arts as, for example, the abstract geometric art of the Cosmati pavements of the middle ages; and used as principles for compositional design in figurative art. They will construct geometric patterns that reflect this

The practical aspect is not an extra bit of light-hearted fun tacked on to the end of the course. It is considered a vital component. It is the practical creation of beauty that effects the transformation in the person. First, it develops the habit of conforming the whole person to divine order, which is impressed by degrees upon the soul. Second, it is exercising the creative aspect of the intellect in us. We are made by God to be with Him in heaven, partaking of the divine nature. God’s intellect is purely creative intellect – if He thinks something it is. The creation of beauty is therefore a temporal step into our heavenly destiny and so directs us on to the path to heaven. Third, when beauty is created it is a gift for God and directs the hearts of others who behold it to God, bringing glory to Him. Therefore it is an act of love. This is the most powerful transforming principle of all.

The benefits to the person are present most powerfully in the Liturgy, but it is important that there is an experience also of the creation of art other than the praying of the liturgy also. This demonstrates to the students how these liturgical principles are made present in the wider culture. Even the form of the Liturgy of the Hours we are learning is developed to emphasise this link between the culture and the Liturgy. It was first developed at the Maryvale Institute, in Birmingham, England, as part of their art theory course, Art Inspiration and Beauty from a Catholic Perspective, where I taught before moving to the US. The students learn to involve the whole person in the prayer, body and soul, so that it is a greater gift to God and they are fully open to inspiration and God’s grace. This means that we engage the senses directly with sacred imagery, chant, incense and consider bodily posture. This is a simple and beautiful form that draws on the tradition of the Church.

And what about the art school? It was felt that to make all students learn to paint icons was not a good thing, as some would be intimidated by this. There will be elective classes in icon painting and drawing throughout the year so that those who are interested can develop their interest. We will be offering a summer school next year open to people outside the college as well and that offers a condensed form of the Way of Beauty in a week (which like the undergraduate class, is for artists and non-artists).  Artists would wish to take in addition a two-week course in iconography and a two-week course in academic drawing, as taught in the ateliers of Florence.

I arrived at Thomas More College in January this year and I have been surprised (and very pleased) by the interest that the appointment of an Artist-in-Residence has created. There have been numerous newspaper features and even a TV appearance (I was invited to talk about the TMC programme on EWTN in late spring). This demonstrates to me that the is a great desire in the Catholic world to see once again a distinctly Catholic culture of beauty united to the liturgy. In fact as a result of this I have had several enquiries from people looking to study art full time who are well grounded in the Faith and committed to the wider vision, so much earlier in the development process than I had originally planned, I am even expecting our first full time art student to begin this Fall.

The Pythagorean Prayer of the Cosmos

The powerful prayer for creativity and inspiration and joy, which is perfected in the Church (Others in series on Divine Office here) Since the ancient Greeks there has been the idea that the happy life is the result of a good life, and a good life is a beautiful life. In the 6^th century BC the philosopher Pythagoras (the same one who has a geometric theorem named after him) gathered around him a religious group of ‘Pythagoreans’ who sought to order their lives according to this principle of beauty and order. They drew their inspiration from their observations of the beauty of the cosmos. When viewed in the way of the Pythagoreans, making our actions and work beautiful becomes a guiding principle in life, just like morality. Morality tends to guide by placing boundaries on our activity – it tells us what not to do. This is necessary. Beauty, however, complements this by providing a positive principle of choice. When looking at the broad open field of choices that do not contravene moral law, it opens up new paths and gives us a principle to choose between options which may all appear to be morally neutral. How do we know what the beautiful choice is? The Greeks noted that the cosmos is both ordered and is beautiful. (The word ‘cosmos’ means in Greek simultaneously order and beauty.) This connection points us to the idea that when we find something beautiful, it is the order within it that is appealing to us. They also noticed, long before the development of modern science, that the rhythms and patterns of the cosmos could be described numerically; and this numerical ordering could become, at least in part, a principle for ordering life. Time and space can be ordered numerically, whether it’s the hours in the day, or the dimensions of a building. Pythagoras is described by Plato as being the discoverer of the numerical order behind beautiful musical harmony and his influence in this area continues to this day.

The Greeks were not the only ones. Long before Christ, the Jewish people ordered time in accordance with these principles: years, months, weeks, days and hours in conformity with the patterns of the cosmos, especially the sun and the moon. They were prompted to do by the revelation contained in Holy Scripture. For the Jewish people the cosmos was a heavenly signpost, created by God, to indicate also the rhythms and patterns and worship. The seven-day weekly cycle, the feast days and the seasonal cycles of their worship conformed to the phases of the moon and the rising and setting of sun. Within each day, there was a seven-fold prayer as well, with the addition of prayer during the night. This structure was the route to joy too. The Psalms especially stress that happiness is the result of following this path. ‘Blessed are the undefiled in the way, who walk in the law of the Lord.’ (Psalm 118:1)

Greek temple in Segesta, Sicily. Pythagoras lived in Sicily

This ancient pattern was adopted and accommodated into Christian worship (see The Path to Heaven is a Triple Helix). The Christian fathers, especially figures such as Augustine made this connection between the liturgy and the Pythagorean description of the cosmos (The Spirit of the Liturgy by Pope Benedict XVI describes this), to give a sense that that the cosmos was made beautiful to direct our praise to God and both this earthly liturgy and the cosmos are not only in harmony with each other, but each reflects the order of the invisible standard of the heavenly liturgy – the unending praise of God by the saints in heaven. The connection between heaven and earth was made substantial in the Church’s worship, through the Mass. The body and blood of Christ, present under the appearance of bread and wine at the centre of the Mass is the meeting point of all that exists, seen and unseen. In Him all the patterns of order and beauty are embodied, for He is Beauty itself. He is the Creator of the cosmos and it bears the thumbprint of the one who fashioned it. In the Mass we actually ingest Beauty.

Let us recall that image of the Mass as a jewel in the setting of the Liturgy of the Hours which is in turn a jewel set in the cosmos. Through this trail of beauty, the connection between the heavens and Heaven is made complete. The Pythagoreans inspired by beauty, prayed with the cosmos. The Jews, inspired by Scripture prayed the liturgy of the hours by praying the psalms at certain times of the day. Christianity is the deepest drawing together of these elements in the Eucharist, which is the source and summit of human life. Each leads us into the next, and each completes the former. This is the prayer that the Pythagoreans sought and, I’m guessing, would have loved to have known. It is the fullest source of beauty and joy.

Praying the Liturgy of the Hours and the Mass is the deepest education in beauty there is, it impresses upon our very souls the patterns of beauty – of the cosmos, of heaven, of Christ. It also opens us up to God’s inspiration just as He bestows it. We draw spiritual breath as He exhales, so to speak. This developed innate sense of the beautiful shapes and guides our imaginations. Because our prayer is engaging the whole person and engaging all the senses, it develops our ability to create beauty in our work, whatever we do, because we understand how it will appeal to others through their sensual perception.

Those who want to learn to do the Divine Office, you might approach a priest or religious (ie monk or nun) and ask them to show you. Alternatively, the Way of Beauty summer retreats at Thomas More College of Liberal Arts will teach you how to pray the Liturgy of the Hours and how you can realistically incorporated it into a busy working or family life

Images above: Pythagoras and an ancient synagogue in Capernaum. Below: the Romanesque Cathedral at Durham in the northeast of England.

The Unsurpassed Power and Effectiveness of the Prayer of Christ - Divine Office IV

The Liturgy is the most powerful and effective form of prayer. This is the fourth in a series on the Liturgy of the Hours. The others are here. The Liturgy (the Mass and Liturgy of the Hours) is not just powerful and effective. It is the most powerful and effective action of the Church on our behalf. Christ participated in it historically; and continues to do so eternally in heaven and on earth and we participate in His prayer through his mystical body, the Church. 

I have assumed that as a devout Jew, Christ participated in the Jewish liturgy, which followed a pattern of marking the hours, either three or seven times a day (and once at night) and praying the psalms (which is the basic form of the Liturgy of the Hours).  The bible speaks of this pre-Christian practice and its continuation in the Church that He founded (see here) ; and we know from historical records that this tradition has continued to the present day. A lovely example that illustrates this continuation of the thread of tradition is the psalm tune or 'tone' called the Tonus Perigrinus. This came from the ancient tradition of the synagogue, was passed on to the Christian liturgy and became one of the standard chants of Gregorian chant. It has become one of the standard chants of Anglican chant too (listen here).

When we pray with the Church, we pray as part of the mystical body of Christ who is our priestly advocate to the Father. Liturgy (the Mass and the Liturgy of the Hours) is the worship of the Father, through the Son, in the Spirit. It is the means by which we enter into a profound relationship with God and enter directly into the dynamic mystery of love of the three persons of the Trinity. In doing so we become divine, yes divine. This is the source of power and effectiveness, and joy. This union with God is why God created us, and God became man to allow this to happen:

'The Word became flesh to make us "partakers of the divine nature": "For this is why the Word became man, and the Son of God became the Son of man: so that man, by entering into communion with the Word and thus receiving divine sonship, might become a son of God." "For the Son of God became man so that we might become God." "The only-begotten Son of God, wanting to make us sharers in his divinity, assumed our nature, so that he, made man, might make men gods."⁸¹ (Catechism of the Catholic Church, 460, quoting 2 Pt 1:4; St. Irenaeus in the second century AD; and St Athanasius in the 4th century AD; and Jn 1:14)

‘Christ Jesus, high priest of the new and eternal covenant, taking human nature, introduced into this earthly exile that hymn which is sung throughout all ages in the halls of heaven. He joins the entire community of mankind to Himself, associating it with His own singing of this canticle of divine praise. For he continues His priestly work through the agency of His Church, which is ceaselessly engaged in praising the Lord and interceding for the salvation of the whole world. She does this, not only by celebrating the eucharist, but also in other ways, especially by praying the divine office.’ (Sacrosanctum Consilium, 83; written in 1963)

If we are participating in the divine nature (albeit at this stage only temporarily and by degrees for us as individuals) it is no wonder that this prayer is powerful.

'Accordingly, every liturgical celebration, as an activity of Christ the priest and of his body, which is the Church, is a sacred action of a pre-eminent kind. No other action of the Church equals its title to power or its degree of effectiveness.' (Sacrosanctum Consilium, 7, [my emphasis])

Those who want to learn to do the Divine Office, you might approach a priest or religious (ie monk or nun) and ask them to show you. Alternatively, the Way of Beauty summer retreats at Thomas More College of Liberal Arts will teach you how to pray the Liturgy of the Hours and how you can realistically incorporated it into a busy working or family life

Images from top: anonymous, Christ Pantocrator, Monreale, Sicily, 12th century; anonymous, 'Mercy Seat' Trinity with four evangelists, English alabaster, early 15th century; Duccio, detail, showing the Agony in the Garden of the Maesta, 14th century;

Images below text: Bartolomeo Cavarozzi (1590 - 1625), Supper at Emmaus. The artist was an Italian who lived in Spain; Rembrandt, Supper at Emmaus

Prayer of the Heart - How to Engage the Whole Person in Prayer. The Divine Office III

Engaging the Whole Person in Prayer  Opens us up Further to Inspiration and Creativity - The Divine Office III, part II here, part I here.

‘In the sight of angels I will sing praise to you (Ps 138:1). Let us rise in chanting that our hearts and voices harmonise.’ (Rule of St Benedict: Ch 19)

The heart is the human centre of gravity, our very core that incorporates both body and soul. It is the place that represents the whole person, the vector sum of all our actions and thoughts. If our hearts are to be in harmony with the prayers of the angels in heaven as St Benedict suggested, we need to consider not just our thoughts and voices, but our actions, our bodies and even how are senses are engaged in the action of prayer. The heart is also the place that is closest to God (considering both physical and spiritual human anatomy). It is closest in the sense of being that place that is most directly in contact with Him. So, if we seek the ideal stated, and harmonise our hearts with the prayer of the heavenly hosts, we will also be more sensitive to inspiration because the whole person is engaged. The Liturgy of the Hours is the means to continuous prayer, as discussed last week. If in the context of the Liturgy our continuous prayer simultaneously engages the whole person then can we are opening ourselves up to the greatest degree possible to God’s grace. To the degree that we cooperate with grace this will help us make all our life decisions and help us to move towards the fulfillment of our personal vocation in life. This will be perfectly ordered also to the model of charity, that is, love of God. To the degree that we match these standards there will be perfect harmony with the objective standard of God’s will. This is the supernatural path to inner peace, peace with our neighbour and a life in harmony with creation.

As I have said before, I don't claim to be an expert in these matters at all, but I can pass on the guidance that I was given when I asked about these things. Here are the things that were suggested to me a way of involving the whole person in prayer. I seek, as well as seeking to attune my thoughts to the prayer of the Liturgy, to engage all my senses and my physical being in the prayer too:

Chant: the use of voice (and hearing). Even if I do it on my own, I will sing the Office (quietly!). As an aside: ironically singing on my own regularly stopped me from being self conscious about singing in front of others. I was so used to hearing my own voice and not being unsettled by it, that in time the thought of others hearing it too didn’t worry me.

Posture: consider our posture at all times. In the Mass I try to follow the rubrics, and in the Liturgy of the Hours do my best to follow the traditional postures such as bowing, standing, sitting. Why is posture important? I see it like this: in the ideal every aspect of human nature is directed towards God, my actions and motives. At any time my motives for doing something are likely to be mixed and not perfectly pure. I have found that even if I don’t feel like praying or feel very peaceful, I can resolve to do it anyway and adopt a reverential posture. My body will tend to lead my heart in the right direction. And where my heart goes, my thoughts and feelings will follow suit. The following scheme was suggested to me and we try to follow this when we say the Office together at Thomas More College of Liberal Arts: we stand through opening words and hymn until the psalms are recited, when we sit, and we stand again for the gospel canticle until the close or if there is no gospel canticle we stand for the closing prayer ; we bow (and if sitting, say at the end of the psalm, we stand again) in honour of the Trinity for the last verse of each hymn and the glory be; we bow our heads at mention of the name Jesus.

Engaging our sense of sight: pray with visual imagery and use candles. I light candles to mark the time of prayer (it reminds me that Christ is the Light of the World) . If I pray to as named saint, for example, Our Lady, I turn and look at an image of her as I do so. At home I create and icon or image corner as a focus for prayer. This can be as simple as have a single icon, or become of more sophisticated combination of images changing according to season and day (see earlier article Praying with Visual Imagery). The ideal core imagery for and icon corner, in accordance with tradition, is to have a crucifixion in the centre, which portrays the suffering Christ; an image of Our Lady on the left; and an additional image of Our Lord glorified on the right. (See past article, How to Make an Icon Corner]

Incorporating the sense of smell –I was encouraged to use incense, for example when singing the gospel canticles. However, I was told, it should be used selectively in accordance with the hierarchy of the liturgy so everything together points to the Sunday Mass as it highpoint. So for example, in community incense can be used on Feast days and Solemnities at Vespers, Lauds and Compline (when gospel canticles are sung), but only if incense is also used at Sunday Mass.

v) Incorporating taste and touch-the Eucharist. We do not take communion during the Liturgy of the Hours, but we should not forget the wider picture.  I was reminded that the liturgy as a whole is seen as an unfolding of a single event that incorporates both the Hours and Mass, but has the Mass at its centre. The quotation given to me mentioned in an earlier article comes to mind again here: the Mass is a jewel in its setting, which is the Liturgy of the Hours; and the Liturgy of the Hours also has its setting, which is the cosmos.

Further articles;

The Four Pillars of the New Liturgical Movement

Those who want to learn to do the Divine Office, you might approach a priest or religious (ie monk or nun) and ask them to show you. Alternatively, the Way of Beauty summer retreats at Thomas More College of Liberal Arts will teach you how to pray the Liturgy of the Hours and how you can realistically incorporated it into a busy working or family life

The Painting is of St Francis is by the 17th century Spanish artist Zurbaran

and, below, the Adoration of the Trinity by Albrecht Durer

How all human work can be inspired - The Divine Office, II

How busy people can strive for the ideal of praying continuously. The Divine Office for lay people, part 2 (part 1 is here): St Paul exhorts us: ‘Always rejoice. Pray without ceasing.’ (1 Thessalonians 5:16-17).

How can we do this? One can imagine the heavenly host of angels and saints doing this as they participate in the heavenly liturgy. But how can we, while here in this earthly life, strive towards this ideal? The answer is the liturgy of the hours, also known as the Divine Office.

The Church’s General Instruction on the Liturgy of the Hours reads as follows:

"Consecration of Time

10. Christ taught us: "You must pray at all times and not lose heart" (Lk 18:1). The Church has been faithful in obeying this instruction; it never ceases to offer prayer and makes this exhortation its own: "Through him (Jesus) let us offer to God an unceasing sacrifice of praise" (Heb 15:15). The Church fulfills this precept not only by celebrating the Eucharist but in other ways also, especially through the liturgy of the hours. By ancient Christian tradition what distinguishes the liturgy of the hours from other liturgical services is that it consecrates to God the whole cycle of the day and the night. [56]

11. The purpose of the liturgy of the hours is to sanctify the day and the whole range of human activity.'' [My emphasis]

If all times in the day and all human activity (no matter how mundane) can be sanctified by praying the liturgy of the hours, as the Church tells us, then this is this is a wonderful gift by which we can open ourselves up to God’s inspiration and consolation in all we do, and the degree that we cooperate, all our activities will be good and beautiful; and will be infused with new ideas and creativity. And we will have joy.

There are seven liturgical hours to be marked in the day and by tradition the process of doing something seven times symbolizes doing it perfectly or continuously. So for example, the psalmist (Ps 12:6) tells us that, ‘The words of the Lord are pure words: like silver tried by fire, purged from the earth refined seven times.’ This pattern of cycles of seven runs through the liturgy (see previous article, The Path to Heaven is a Triple Helix).

Even if we accept this and want to benefit from it, it is a huge problem for most lay people. If you get the full cycle of prayer of seven Offices in the day for seven days of every week in the year it adds up to a three or four volume set. Priests and religious who are obliged to pray it, devote a huge part of their lives to praying the liturgy of the hours. Benedictine monks can spend up to six hours a day singing the psalms in church. One might expect them to be able to cope as that is their special calling, but what about the rest of us?

This is how I approached the problem. First, as with all these things the help of a spiritual director is invaluable. He told me that I should take heart in the fact that through its priests and religious especially, the Church as a whole is praying the Hours on our behalf. As the globe turns, someone somewhere is praying for all of humanity (most of whom have no idea of the benefits they are getting as a result). So any additional contribution that I might make, no matter how small, to this prayer of Christ in the mystical body, the Church, will be good, but neither is everything going to collapse if I don't do it perfectly. Even one Hour (or ‘Office’) a week is worth it.

I was told to start modestly. If I found it beneficial, then I was told that I could increase what I did, but then it would be best to do so only gradually. There was a danger that if I took on too much too early that I would find it overwhelming and then give up altogether.

I started by aiming to read a maximum of two each day: Morning Prayer (‘Lauds’) when I got up and Night Prayer (‘Compline’) before I went to bed. I had a single volume version that just had Lauds, Evening Prayer (Vespers) and Compline for the year. If you want to try this but don’t even want to buy a book, you can see what each Office is for any day by going to www.universalis.com.

Mark the Hours

It took me a while to develop this habit, but once I had, I had to decide what to do next? I'd experienced enough to know that this was good and I knew I wanted to do more. But, like many busy people it seemed to me that trying to introduce even just Vespers on top of what I was already doing was going to be difficult. I was given an alternative. If at any time I could not recite a full Office, why not substitute it with a memorized prayer, and aim gradually to mark each Hour and aim for the ideal of sevenfold prayer each day?

I was helped by reading a book recommended to me by a fellow faculty member of Thomas More College of Liberal Arts called Earthen Vessels, the Practice of Personal Prayer According to the Patristic Tradition, by Fr Gabriel Bunge. Despite its daunting title it is in fact quite easy to read and very practical. Fr Bunge a Swiss Benedictine monk explains that the essence of the liturgy of the hours can be described as two things: first praying the psalms; and second, the marking of an hour. The official ‘off-the-shelf’ cycles of psalms, canticles, hymns and prayers are produced to allow people to sing in community, and this is why priests and religious must say a prescribed form. However, as lay people, we are free to devise any cycle of the psalms we like.

So this is what I did: for the most part I tried to keep to the standard form of each Office as in the Liturgy of the Hours book I had been given (which was according the Roman Rite, it said in the front) and from that to the schedule of Compline at night and Lauds in the morning. However, in between I marked the hour with a short memorised prayer, sometimes just the Our Father, Hail Mary and Glory Be. If I could remember any, I tried to have just a line from a psalm. The ideal would be to memorise one psalm (and some are short!). This habit of continual prayer is what opens the door to the possibility of continuous prayer.  The publication Magnificat is a cycle of the psalms, with some prayers and canticles, that one can subscribe to monthly, which has been designed with lay people in mind.

What are the Hours?

The hours are not set times according the clock, but to the traditional organisation of time in which, roughtly speaking, usual hours of daylight are broken up into twelve divisions. So it is roughly like this: Lauds at dawn or when you get up; Terce (the ‘third hour’)at 9am or mid-morning, Sext (the ‘sixth’ hour) at noon or the middle of the day, None (at the ‘ninth’ hour)at 3pm or mid afternoon  and Vespers at dusk. Then there is Compline at bed time and during the night Matins, which is also called the Office of Readings. Because busy people are not expected always to be able to rise at midnight to praise God, this can be said at any convenient time and is often run together with Lauds, first thing in the morning.

The experience of doing this has been so positive that I can't imagine not wanting to pray at least part of the Hours each day. As someone said to me recently, he found that the praying of the liturgy of the hours was like regular physical exercise: although it meant an investment of time, there was a sense that in doing so, time was created because work seemed more efficient and productive and things just seemed to go more smoothly during the day. We both felt the same. We couldn’t prove it, but once we had tried it, we were convinced of its value.

I started doing the liturgy of the hours about 15 years ago and gradually, I have found that my life circumstances have altered to give room for it. I don’t do it all perfectly, but I now do most Offices each day. It does not feel like a burden, but a source of sustenance.

Psalm 116

O praise the Lord, all ye nations: praise him, all ye people.                                         For his mercy is confirmed upon us: and the truth of the Lord remaineth for ever.

You can read a more detailed article about it by following the link: Achieving the Pauline Ideal - Praying Continuously Body and Soul.

Those who want to learn to do the Divine Office, you might approach a priest or religious (ie monk or nun) and ask them to show you. Alternatively, the Way of Beauty summer retreats at Thomas More College of Liberal Arts will teach you how to pray the Liturgy of the Hours and how you can realistically incorporated it into a busy working or family life

Praying with the Cosmos – the Ancient Treasury of the Divine Office I

An ancient beautiful prayer that leads us to joy, and opens us up to inspiration and creativity; part 1, part 2 here The Divine Office (also called the Liturgy of the Hours), is one of the four pillars of the spiritual life of the new liturgical movement. This is the first in a regular series that highlight the riches of the the liturgy of the Church and how it is at the root of Western culture.

'The Mass is a precious jewel and that jewel has its setting, which is the Divine Office. The Divine Office also has its setting, which is the cosmos.' This is how a priest who was visiting Thomas More College of Liberal Arts put it to me recently. In the picture of words he painted for us, the Divine Office mediates between the Mass and cosmos. Through its pattern of prayer, it highlights for us the rhythms and patterns of sacred time, which are reflected also in the cosmos. The cosmos points us not only to the Divine Office, through its order, but also through its beauty draws us in and lifts our souls to God in heaven. God's angels and His saints are praying the heavenly liturgy - this is the activity, so to speak, of the exchange of love with God in perfect and perpetual bliss. And through the Mass the heavenly and the earthly, the divine and the human meet and the otherwise impassable divide is bridged supernaturally. By it, can step supernaturally into the heavenly dimension.

The Divine Office is an often-forgotten ancient form prayer, which has its roots in the pre-Christian worship of the Jews. We can assume that as a devout Jew, Christ will have prayed it, and we know from the Acts of the Apostles that the tradition was continued by His Church. Priests and religious of the Church are obliged to pray it to this day and we would perhaps most commonly associated it with the chanting of monks and nuns. But it is not their preserve. In the past it was a widespread regular practice for most lay people also. The Church of today encourages lay people to pray this too placing it in value above all other prayers and devotions apart from the Mass.  I was first encouraged to pray it by my spiritual director, one of the Fathers at the London Oratory, when I was living in England. It has been a life transforming experience for me.

In essence the Divine Office is simple. We say, or ideally sing, the psalms at regular intervals during the day, marking significant times called ‘Hours’. It is part of the Liturgy, the formal and public worship of the Church (like the Mass) and for this reason also known as the Liturgy of the Hours. If you want to pray with the priests of the Church then you can see each Office set out each day at www.universalis.com.

If we pray in harmony with rhythms and patterns of the cosmos, especially the cycles of the the sun, the moon and the stars, then the whole person, body and soul, is conforming to the order of heaven. The daily repetitions, the weekly, monthly and season cycles of the liturgy allow us to do just that. In his book, the Spirit of the Liturgy, Pope Benedict XVI calls our apprehension of this order, when we see the beauty of Creation a glimpse into 'the mind of the Creator'. This conformity in prayer opens us up so that we are drawing in the breath of the Spirit, so to speak, as God chooses to exhale. It increases our receptivity to inspiration and God’s consoling grace and leads us more deeply into the mystery of the Mass.

Also, participation in the Liturgy of the Hours is an education in beauty. It impresses upon our souls the order of the cosmos and so enhances our creativity. Whatever your discipline, ideas that are in harmony with the natural order are more likely to occur to you in your daily work. For example, I wrote about how awareness of the symmetry of the natural order has already aided scientific research, in the field of particle physics, in a previous article called Creativity in Science through Beauty.

Those who want to learn about this can approach any priest or religious (ie monk or nun) and ask them what they do. Alternatively, the Way of Beauty summer retreats at Thomas More College of Liberal Arts teach us how to pray the Liturgy of the Hours and how you can realistically incorporated it into a busy working or family life. It also teaches us just how the heavenly order that permeates traditional Western culture and can again in the future. Those who are interested in more information about this should go here.

For a longer essay on this read The Cosmic Liturgy and the Mind of the Creator.

The painting at the top is Fra Angelico and the frescoes below are by Giotto. Note the stars in the sky. This is not just a device by an interior designer to make the space seem bigger by creating the illusion that there is no roof. This is deliberately encouraging in us the sense that the cosmos is praying with us and that the heavens point us to Heaven.

Part II is here.

Below, Giotto's The Last Judgement.

The Practice of Lectio Divina (3): Ephrem the Syrian on the Inexaustible Treasury of Scripture

Scripture, Part of the Foundation of Joy (part three; part one here; part two here) This is from the Office of Readings of Sunday Week 6 of Ordinary Time. It is from a Commentary on the Diatassaron by St Ephrem the Syrian. It certainly inspires me to keep on reading the bible and makes this point that God speaks to me at the level I am at, and so the same piece of scripture can say different things to me on the next reading. The sub-heading is: God's Word is an inexaustible spring of life.

'Lord, who can comprehend even one of your words? We lose more of it than we grasp, like those who drink from a living spring. For God’s word offers different facets according to the capacity of the listener, and the Lord has portrayed his message in many colours, so that whoever gazes upon it can see in it what suits him. Within it he has buried manifold treasures, so that each of us might grow rich in seeking them out.

The word of God is a tree of life that offers us blessed fruit from each of its branches. It is like that rock which was struck open in the wilderness, from which all were offered spiritual drink. As the Apostle says: They ate spiritual food and they drank spiritual drink.

And so whenever anyone discovers some part of the treasure, he should not think that he has exhausted God’s word. Instead he should feel that this is all that he was able to find of the wealth contained in it. Nor should he say that the word is weak and sterile or look down on it simply because this portion was all that he happened to find. But precisely because he could not capture it all he should give thanks for its riches.

Be glad then that you are overwhelmed, and do not be saddened because he has overcome you. A thirsty man is happy when he is drinking, and he is not depressed because he cannot exhaust the spring. So let this spring quench your thirst, and not your thirst the spring. For if you can satisfy your thirst without exhausting the spring, then when you thirst again you can drink from it once more; but if when your thirst is sated the spring is also dried up, then your victory would turn to harm.

Be thankful then for what you have received, and do not be saddened at all that such an abundance still remains. What you have received and attained is your present share, while what is left will be your heritage. For what you could not take at one time because of your weakness, you will be able to grasp at another if you only persevere. So do not foolishly try to drain in one draught what cannot be consumed all at once, and do not cease out of faintheartedness from what you will be able to absorb as time goes on.'

I have just one comment on the icon of St Ephrem. Ephrem lived from the first part of the 4th century and in 1920 was proclaimed by Pope Benedict XV as a Doctor of the Church. Among his famous writing are his Hymns of Paradise. The sunken cheekbones in the icon are used to show asceticism. Ephrem was not a monk as monasticism as we know it was only beginning to take hold in Egypt during this period. However, he lived in a Christian community that had similar disciplines and he is venerated in the East as an example of monastic discipline. Hence the sunken cheeks.

Monastery in the Syrian desert (this is of St Moses the Ethiopian). I hope their spring is inexaustible, just looking at it makes me feel parched!

The Practice of Lectio Divina - a Source of Joy (2)

Scripture, Part of the Foundation of Joy (part two; read part one, here) I am not an expert in this at all, but I thought that my experiences of trying (and often failing) to learn the technique and practice it, might be a starting point for others who wish to make a beginning also. Also I would encourage any of you who have experience to offer any helpful thoughts for the benefit of the readership… Before I even began my investigation of lectio divina, the point was made to me that it is good to go to someone who can structure my spiritual life so that all of these things have a unity that allow them to nourish and support my ordinary daily activities. The danger is that I just tack one more devotion onto the daily list of personal obligations without proper understanding of how it relates to the other things that I do and the whole thing becomes a burden, in which I feel guilty if don’t tick all the boxes that day.

Now for lectio divina itself: the first part is lectio. This just means reading. The first thing I have to do is select a passage to read. I was told to start with the gospels. If I aim to do it regularly, it was suggested that I try to go through the bible systematically, even if this means that it will take years to go through it once. One person told me another systematic approach to begin with is to pick the readings, or just the gospel reading, for Mass that day. If you don’t have a Missal to hand, www.universalis.com has the readings each day.

So having selected the passage I say a short prayer, that I might be receptive to whatever God wants to say to me through the passage I read. And then I read away. As phrases catch my attention I re-read. If nothing catches my attention, I just re-read the whole allotted passage a number of times. One helpful piece of advice given to me was that God will speak to me at the level I am at. So I shouldn’t worry that I am not a scripture scholar who isn’t instantly aware, for example, of the parallels between Old and New Testaments or the allegory that it contains, and so on.

However, it is a good idea, I was told to support this lectio, if I have time, with reading of commentaries on scripture, that my understanding might increase in time. I was told to be careful with modern commentaries as many (including some by Catholic writers) do not adopt a starting postion of faith that this is the inspired Word, and so a skepticism creeps into their work. I play safe and go for the Church Fathers and even here I let the Church guide me through her liturgy. The Office of Readings has a passage every day by a Church Father and very often this is a commentary on scripture. So I let the Church educate me as I worship God the Father in the Liturgy. Here is this dynamic, described yesterday, of Liturgy illuminating Scripture and Scripture intensifying my participation in the Liturgy. Again, the Universalis website is a great source for the Office of Readings each day.

The second part is meditatio. This means ‘I think’. This was always a source of confusion for me. In this age of post-Beatles, Maharishi Yogi pop culture, I thought that meditating on a phrase meant repeating it like a mantra in Eastern meditation. And that the goal was one of the elimination of thought; or at the very least it was a passive process of just letting my mind drift in the ethereal breeze  and see what thoughts might crop up,  but without reacting to them. I couldn’t work out what I was supposed to be doing here – it seemed to be contradictory to the idea of trying to understand the passage, which involved the application of reason to what was being read.  My predicament wasn’t help by many of the books that I first read about Lectio Divina.  Some (perhaps influenced by pop culture too) read as though they had been written  by a beatnik writer who described it as an invitation for me to indulge in my emotions through undirected random or stream-of-consciousness style thought, on the assumption that because I had just read a bit of the bible, this was God at work in my mental processes. I was suspicious of this undirected approach.

The way out of this changed when I was told something about the distinction between Christian and Eastern, non Christian, ideas of meditation. Meditate, in the Christian tradition means more ‘meditate upon’, the same as ‘think’.  So while in meditatio I do pause and allow for the prompting of the Spirit in the form of occurring thoughts and ideas; when they do occur I react to them by mulling over them, perhaps asking myself: what does this mean? Is there something that applies to me directly? How can I act on this in the rest of the day? And so on.

This leads to the third stage, Oratio – prayer. So here I can ask God to show me how to act on something or help me in those areas that the meditation highlighted. The worry for me here was that sometimes I didn’t seem to have any profound lessons or thoughts to react to. This meant I didn’t know what to pray, except perhaps, ‘please give me some profound lessons or thoughts’. Here again I was given some helpful advice by someone with much greater experience than me. He said that quite often this happened to him and he didn’t think it was anything to worry about, he simply said some prayers in which he praised God for having this chance to hear his Word.

I find that once I start reading, I can move gently from one to the other, reading, thinking, saying a short prayer and then reading again.

The fourth part is contemplatio. This is contemplative prayer. As you can imagine, this originally caused me confusion too. I thought contemplation and meditation meant pretty much the same thing. And given the fact that I didn’t initially understand what meditation was, the inclusion of contemplation just compounded it even further. So I needed another explanation: in contrast to mediatio , this part is passive. It is passive in the sense that it is a state of mind that is given to us as a gift from God and actively pursuing it cannot guarantee its occurance. If I have understood the descriptions  properly, it is a state of stillness of mind; one of just being with God and it sounds something like the descriptions of the beatific vision when we are in full union with God in heaven. However, as it is a gift from God, I should be careful in interpreting anything from about it or concluding anything about my spiritual development, or about how well I have done the first three stages. God either gives it to me or he doesn’t. Contemplation, therefore, is not a reward or goal of the first three stages, in that sense, it is just something that might happen, or it might not over which we have very little control. For myself, all I can say is that if it happened to me, I didn’t notice (which I’m guessing probably means that is hasn’t happened!).

The reason I do this is the reason that I am driven to do any of these things. I believe that ultimately and generally, I will be the happier for doing so, rather than any immediate reward of a pleasant emotion or feeling during the process.

At this point, I was going to include another passage from the Office of Readings at the end of this, but given the length of this piece so far, so I’ve decide d to tack on a Part Three, which will appear tomorrow. It is by the 3^rd century Father, Ephraim the Syrian.

The Practice of Lectio Divina - a Source of Joy (1)

Scripture, part of the foundation of joy (part one, part two tomorrow)

A group of Thomas More College students and myself have just made a trip to the Benedictine community, St Benedict Abbey, which is at Still River, Massachussetts for a mini-retreat. We arrived for sung Vespers in Latin at 6pm and then left after Compline, which finished about 9.15pm. In between the two Hours, we had dinner with our host, the guestmaster, a talk and period of quiet reflection.

The guestmaster's talk focussed on the contemplation of Scripture, one of the four 'pillars' of the new liturgical movement - Mass, the Liturgy of the Hours, Holy Scripture and Mystagogy (which I recently wrote about). The form of study of scripture discussed on this occasion was lectio divina. Lectio is required of all monks who follow the Rule of St Benedict, and so I had asked him focus on this aspect to help our students (and me) incorporate it into our daily lives. We were lucky to receive a wonderful, down to earth talk about this form of study of scripture, which gave us some great pointers on how to incorporate it into our own lives. 

What was so interesting for me was his description of how the the constant practice of both lectio and participation in the liturgy, Mass and the Liturgy of the Hours, each enriches and deepens participation in the other. So a quotations from the bible in an antiphon at Vespers, for example, might evoke the whole biblical context; and then conversely, how the reading of a phrase in lectio, would evoke the season or feast in the liturgy and place it in the context of our heavenly destiny - the worship of God the Father. Through this dynamic, each reinforces and deepens the experience of the other. As a monk, he told us, he spends more than an hour a day on lectio. As it is unlikely that lay people can regularly devote an hour to this, I asked if it was worth trying to incorporate it for perhaps 10 minutes in a day. Would that still be worthwhile. Oh, yes! I was told. What also struck me was how joyfully and generously it was offered to us. Tomorrow, I post a short summarise what I grasped from his talk and describe how I, and amateur at these things, have tried to put this into practice in my daily routine.

For those who wish to learn more about lectio divina you could always do what we did - go and listen to someone who practices it and will joyfully pass it on to those who ask. Failing that a book that I found very helpful and practical is "Praying Scripture for a Change" by Dr. Tim Gray.

I recently described, here, how in my opinion, these the pillars of the new liturgical movement  could be a basis of cultural renewal and as such, certainly, are the foundation of the Way of Beauty. But none of this is worth doing unless it is a source of joy, and our visit to the monastery yesterday reinforced the conviction that this is what the Church offers us.

Here is St Bonaventure (whose picture is shown) from the Office of Readings of Monday Week 5 of the year:

'The substance and fruit of holy Scripture is very specific: the fullness of eternal happiness. For this is what Scripture is – its words are words of eternal life, and it is written not just so that we should believe, but specially so that we should possess eternal life in which we may see, and love, and have all our desires fulfilled. When they are fulfilled, then we shall know the superabundant love that comes from knowledge, and so we shall be filled with all the fullness of God. God’s Scripture tries to lead us to this fullness, and to the truth of the preaching of the apostles. It is to this end, with this intention, that we should study holy Scripture, and teach it, and hear it.

If we are to follow the direct path of Scripture and come straight to the final destination, then right from the beginning – when simple faith starts to draw us towards the light of the Father – our hearts should kneel down and ask the Father to give us, through his Son and the Holy Spirit, true knowledge of Jesus and of his love. Once we know him and love him like this, we shall be made firm in faith and deeply rooted in love, and we can know the breadth, length, depth and height of holy Scripture. That news can then lead us to the full knowledge and overwhelming love of the most holy Trinity. The desires of the saints draw them towards the Trinity, in which all that is good and true is and finds its completion.'

Liturgy is the worship of the Father, through the Son, in the Spirit. By worshipping the through and with the Church, which is the mystical body of Christ, we approach the Father. This is what we will do in heaven and we can step supernaturally into this wonderful place and by degrees (not fully before we die) partake of divine nature in this life. Bonaventure is describing this in this little passage above. The liturgy  - the Mass and the Liturgy of the Hours - is how we can do it.

The liturgy is described by Church as the 'source and summit' of human existence. Worship of God the Father in heaven what we are made for, and the liturgy is the source of grace that guides us to it. I cannot imagine anything higher than the prize that contains full and eternal happiness, superabundant love and all our desires fulfilled: and this, according to Bonaventure is precisely what the Church offers us.

For more about Bonaventure, follow link here.

The painting below is of a monk reading scripture, by Rembrandt.

The Liturgical Life that will Create the Culture of Beauty

My colleague at the New Liturgical Movement website, Shawn Tribe, has posted a simple but truly wonderful and inspiring article about what he calls the 'pillars' of a liturgical life.He describes not a theoretical discussion for experts in liturgy, but rather simple practices for parish and family. It is a spiritual life based upon the Mass, the Liturgy of the Hours and study of scripture, especially through lectio divina. This, in my opinion, is the basis for cultural renewal. Shawn's article is a must read for anyone committed to the re-establishment of a culture of beauty in the West, especially those associated with the liturgical arts (and frankly for that matter everyone else too). This is the sort of practice of the Faith that has been called for by Popes (just to my knowledge) ever since Pius X at the end of the 19th century and right up to Pope Benedict XVI today. He emphasises particularly the importance of something so often neglected by lay people, the Liturgy of the Hours otherwise called the Divine Office. Passing on a practical way of such a fruitful participation in the liturgy is the primary aim of the weekend retreat at Thomas More College of Liberal Arts this summer. It not only teaches about Shawn's pillars, but how to participate. It is expected that many will already have a strong sense of this in the Mass; but knowledge of a practical way that busy lay people can participate in the Liturgy of the Hours, and how Catholic culture is rooted in the whole of the liturgy is less well known. It is designed so that not only will everyone be able to continue practising what they learn after they leave, but will be able teach others in their family and parish.

Although what is offered is at the grassroots level of one person praying with another. The ambition and hope we have of this high - the transformation of society. Any culture points to the cult at its centre, in the case of Catholics that is the liturgy. Accordingly, the demise of Catholic culture in the past points to large scale demise in the liturgical life in the Church militant (and we are talking about something here that happened long before the 1960s); and conversely the primary driving force for any cultural renewal will be liturgical renewal. What Shawn is describing is the basis, therefore, not only of the basis of liturgical renewal, but also cultural renewal.

The TMC weekend retreat is aiming to fulfill the final pillar listed by Shawn in his piece, and which informs the other three, that is 'mystagogy'. Mystagogy is, to quote Stratford Caldecott, 'the stage of exploratory catechesis that comes after apologetics, after evangelization, and after the sacraments of initiation (baptism, Eucharist, and confirmation) have been received' And it is necessary (here quoting Benedict XVI) because '"The Church's great liturgical tradition teaches us that fruitful participation in the liturgy requires that one be personally conformed to the mystery being celebrated, offering one's life to God in unity with the sacrifice of Christ for the salvation of the whole world. For this reason, the Synod of Bishops asked that the faithful be helped to make their interior dispositions correspond to their gestures and words. Otherwise, however carefully planned and executed our liturgies may be, they would risk falling into a certain ritualism.'

Read Shawn Tribe's article here.

What makes Oxford University Great?

Beauty, Grace and Superabundance in Education When I was studying in painting and drawing in Florence I started to wonder why we haven’t yet seen a modern Master. We all knew that we weren’t up to the standards of the past great Masters, such as Velazquez or Reni. Judge for yourself, I have attached photos of my own work. I must admit I am quite pleased with them and it is an amazing improvement in only one year of training and as such a tribute to the quality of the teaching in the school. But I know I’m no Velazquez.

My story aside, why don’t we see better artists coming through? Many in Florence felt that some of the training methods had been lost. Others suggested that we didn’t train for long enough and didn't start early enough in life. There might be some truth in this but I don’t think these are the main reasons. When I thought about it, something intrigued me: Velazquez surpassed the skills of his teacher (a man called Francesco Pacheco). I had always thought of education as a process of a teacher passing on knowledge and advice to a pupil on the basis of experience and their own education. If this was so, I realized, education would necessarily mean a diminution of knowledge from one generation to the next. No one can pass on everything they know so they are always necessarily passing on directly less than they were given. One would expect Pacheco to be better than Velazquez. Why was the reverse true?

The answer, it seems to me, is grace. Some might say not grace, genius. But then the question as to what genius is arises and I think that points to the same answer. A genius has a special gift from God and the ability to direct it well under the guidance of inspiration. Every education, whatever is being taught, therefore, should be designed so as to maximize inspiration from God during the process.  Velazquez’s training took place in a Christian society that understood how an artistic training could engender openness to inspiration and the humility to cooperate with it when it comes. First, specific to art, the baroque tradition was understood to be Christian (although not called ‘baroque’ yet), so the artists understood how to use the visual vocabulary they were being taught. I was taught the stylistic elements justified by an appeal to the tradition and good taste, not to theology. So we knew what the masters did, but not why. Second, the environment is made as beautiful as possible in accordance with tradition harmony and proportion, which is a physical manifestation of the rhythms of the prayer of the Church, the liturgy. And third, they prayed for inspiration in accordance with these rhythms.

I found out later that all education during this period and prior to the Enlightenment followed certain patterns. Exactly the same principles of beauty and prayer were the basis of the education in Oxford and Cambridge. The educational community of each college prayed the daily rhythms of the liturgy of the hours throughout the day. Furthermore, at Oxford and Cambridge this continued even after the Reformation and, perhaps surprisingly, continues to this day. The Anglican office of Evensong is sung regularly at the colleges of the university and the grace that this bring into the establishment for the benefit of the students should not be underestimated. It has often struck me as strange that these two universities should still be rated so highly in the world when they are relatively small by modern standards, and in a country that is no longer as influential as it once was. They punch well above their weight. Part of the answer is the sheer beauty of the buildings of the university. People want to go and live there, and so they attract better teachers and better students. But it is also, I would say that they maintain the form of a liturgical rhythm in their academic year, built around Christmas and Easter; and in the daily structures by having the liturgy of the hours in Anglican form. What we are seeing is the ordering of time and space according to heavenly principles for the benefit of the students (though I doubt more than a handful at Oxford are aware of this). They stand out today because these structures were abolished in continental Europe with the Napoleonic occupation and modern American universities, on the whole followed the continental model of university when they were established.

It should be said that of course God can inspire whomsoever he pleases and is not limited by the sacraments. There is no accounting for who might be able to cooperate with grace in this regard, even if they seem to resist it in all areas of life. For this reason, there is always the possibility of a wonderful artist, for example, popping up out of nowhere, even today. But as a principle of education that will give us more than the occasional genius it makes sense to create an institution that makes it easier for the student, rather than more difficult, to cooperate with grace.

The principle that is being invoked is one of superabundance – the creation of something good out of nothing. It was described by Pope Benedict in his latest encyclical, Caritas in Veritate. Just as it is possible to harness it to make a better education in a university, it can be used in any institution. In his encyclical, the Pope was talking about business and the creation of wealth. He was giving us a clue to a life of great abundance, yet few from what I could tell seemed to see it as I did. I refer to this in more detail in the same article referenced above.

We have done our best to invoke these principles at Thomas More College. Not just in our art classes for the undergraduates and the summer program, but also in the life of the students. We communicate the value of the full liturgical experience to every aspect of their lives. Lauds and Vespers take place daily during the term and students are encouraged to participate. It is important that there is no sense of obligation in this regard, outside what is necessary to the teaching of it. It must be something that is freely participated in, in order to have value. Our experience is that a core few come as often as they can, some others come regularly but not daily and of course some never come. However, I am sure that the fact that it is happening is helping the whole community, even those who don’t participate. This is fine. I unknowingly benefited from this at Oxford where I was a student for four years, never once even entering the chapel the whole time I was there. But perhaps this is in part what drew me to a later conversion. Certainly on leaving Oxford where I felt part of a community in a way I never felt before, I felt a sense of desolation that increased and only left me once I converted. Then it was replaced by the full source of joy, something even greater, rooted in the Church.

The photographs, incidentally, are of Oxford. At the top we have the grand Magdalen College, and the two at the bottom are of the smaller but charming front quad of my college, St Edmund Hall.