The Apostolic Blueprint for a Parish, the Model of Christian Community in the Modern Age

There is lots of discussion today about the loss of community and how our parishes, even those that seem well attended, don't seem to be the beating heart of an authentic Christian community any more, as they ought to be.

A common response is to look to the monastic model as an antidote. My sense is that the current interest in the much vaunted Benedict Option, in which hope for the West is placed in a Benedictine led spiritual revival is as much about fulfilling a desire for Christian community as it is for the transformation of the culture. Others have painted a picture of the medieval village with its houses clustered around the monastery as the families walk to Vespers in the gothic abbey church.

The disadvantage for such an arrangement can be that the spiritual heart is a religious community which, by its nature, is separated from the rest of the world and therefore also from the lay people who identify themselves as part of the lay extension of that community. This is not an insurmountable problem and there is nothing wrong with this if those involved don't mind this and if the fruits of it are positive, but given the low number and often the remoteness of monastic communities, even if we put aside the difficulties, it isn't a realistic option for most until they can retire to rural France...or Oklahoma..or wherever it may be.

I have seen people try to create lay communities of working people and their families by trying to encourage those who join to live a compound of homes where all subscribe to some modified Benedictine rule. The drawback here is that it is difficult to overcome the conflict between the demands of community and of family life - there is often a tension between the two. Some seem to manage it, but others in extreme cases can have a cultish feel to them. Such communities are by necessity strongly heirarchial if they are to avoid falling into anarchy - ultimately someone or a small group of people are in charge over decisions in daily living that effect others - this immediately creates conflict because that community authority or influence will tend interfere with, or even undermine, the natural authority of parents in the family.

Such a conflict rarely arises in parish life because beyond attendance, the parish itself does not impose rules at all beyond what the Church as a whole requires. There is no rule for parish life, that I am aware of, in the way that there are rules for religious communities. But this is also the source of a weakness for the parish as a basis of community. The connection is usually so loose that it is rare, nowadays at least, for people to feel bound to it at all.

This is where the need for a set of principles for parish community might come useful and this is what I heard described recently.

St Elias Melkite Catholic Church, in Los Gatos, California had their annual visit from the bishop, Most Reverend Nicholas J. Samra Eparchial Bishop of Newton recently. I attended Vespers and beforehand he spoke encouraging words, exercising his pastorial role as Bishop. The subject of his talk was how a parish can be a genuine community or as a put it, part of the Church and not simply a social club.

He began by going back to scripture and in particular he analysed the growth of the early Church as described by the Acts of the Apostles. He pointed out how the descriptions of the early gatherings seemed to point to four ministries that we should replicate today.

First (of course!) worship: Divine Liturgy (or Mass) and the Divine Office in the Church. Then he spoke of the need to take that worship back into the home by the establishment of the Domestic Church where the occupants of a house (not always families, this can be people living on their own or single people sharing somewhere) pray the Divine Office to their icon corner. St Elias's pastor, Fr Sebastian Carnazzo has produced free booklets which he gives to everyone who walks into the church called Daily Prayer for Melkites. This give a simple stripped down version of the more complex, monastic derived full Morning and Evening Prayer, which families can do and by which they participate in the fuller monastic influenced form that a church might do at Vespers or Orthros. In doing this they are dispersing the liturgy across time and space and taking the Church out to their homes.

Second is social - he talked of the regular organization of social events and especially meals connected to the worship and how newcomers should be spotted and invited to attend the coffee social/meal after the Liturgy. Again, this structure of communal meals after worship can be replicated in the home. There is something wonderful about a social event in a home which is Vespers followed by a meal. He spoke also of how an apparently thriving parish can, detrimentally, also have this social element emphasized at the expense of the others so creating a social club and not a church. In the long run a parish that does this will die. When it is done properly, the hope will be that this will naturally generate friendships and social cohesion beyond the church, so creating a social fellowship amongst the parish community which supplements and derives its strength from those parish based social events and ultimately the fellowship of the Spirit and the liturgy.

Third is education. He spoke of how great a need there is for constant mystagogy of adults and instruction of the children and that churches should hold classes for both. The children, he said, should be instructed in the church, in the ideal, by a couple so that it establishes as a habit in the children the practice of looking to parents in the home for education and instruction. And that, of course, is the next step here - the education of the children in the home by the parents.

Fourth is charity - almsgiving. This is the spirit of love by which people donate time and money for the care of others in the church, in the community and beyond. Some of that time will be spent in contributing freely to ministries that provide these four parish functions. Again, we see the model being set in the parish, and then supernatural transformation of those involved so that they take their enhanced capacity to love out to their fellows. This dispersed charity, if I can call it that, participates in that which should be at its greatest in the parish.

Bishop Nicholas suggested that apart from the functions that are necessarily performed by a priest, these are ministries that lay people should take responsibility for. And in the ideal they will never be onerous for anyone. As he described it, this is a natural organization of community and each of us has charism that suits us to work within one form or another of these ministries. In short, we are made to be members of the Church and if not religious, very likely part of a parish, so when we find our natural niche by which we contribute most powerfully to parish life, we will flourish in a special way as part of it. This would be a true flowering of a liturgically centered 'charismatic' movement. Furthermore when you have people who are doing what comes naturally to them as part of these ministries, then we shine with the light of Christ and people will see something in us, and this will in turn attract them to parish life.

What he was presenting was a simple 'rule' for parish life. A set of guidelines by which if the congregation chooses to participate is likely to lead the establishment of a thriving church which can happen in cities and town wherever church and the population happen to be; and when each is in place the fifth element occurs spontaneously - evangelization.

He was in fact outlining a simple template for the project management of the new evangelization!...which is the same as the old evangelization, and is in fact the oldest evangelization.

It occured to me also, that this is a possible pattern for communities that are not monastic but perhaps bound together in some other way. Little neighborhood groups of families and single people - maybe in an apartment block - can each have their own domestic churches in their separate home and apartments, but then gather together from time to time as little parish sub-communities gathering in the home of one, reinforcing this parish template for community in all.

I think this may be a practical answer to the desire for community in modern man. Most of us are meant to be parish people, not monastic people (which is a special calling) and when life is organized on the pattern of the ideal pattern we will flourish and evangelize others.

The more it is replicated outside the church in different social groups the more it will create a bond of community for that particular grouping, while simultaneously priming those who have never been to church for participation in the parish community; and further developing the bond to it in those who already have a parish life.

Amongst those who are thinking about the decline of community and Christian culture in the West there is a tendency to assume that the establishemnt of the post-Enlightenment model of a city is the one of the culprits - perhaps industrialization and electronic communication, and the existence of giant connurbations of millions of people is part of the problem. This is the back-to-the-land, recreate-a-village outlook. There may be something to this, but I do wonder sometimes if this is not based upon an idealized view of what villages and working on the land used to be like. My instincts tell me that the sense of alienation arises not so much from the environment, as it much is within the person who is alienated. If I feel alienated then I must become more of a community person; it is by offering fellowship and community to others that I feel part of a community myself. This therefore, can happen wherever there are people. I should redirect my work into an effort to participate in the church-as-community in the fullest sense.

Again, this doesn't mean that we all need to live in a village or even within walking distance of our local church; that parish community can be dispersed quite wide permeating a wider population base and still be strong. The old maxim - you get what you give - seems to be the operating principle here and in a city there always people nearby to whom I can offer community. Regardless of whether or not they accept it, I will change in the effort to bring it to them. Certainly, I should admit, Bishop Nicholas's address made me ask a few questions of myself.

The paintings are all by LS Lowry, who made his name painting the industrial landscapes of the mill towns in Greater Manchester in England after the Second World War.

Talk in Louisville, KY, Saturday, April 8th

For any who are interested and are within striking distance of Lousiville, I am will be speaking at the Immaculata Classical Academy this coming Saturday evening at 7pm as part of their speaker series. Details can be found on the poster below. Hope to see some of you there.

Literature, History and the Human Story as Manifested in the Culture

I recently heard a lecture as part of his Pontifex Univeristy class entitled The Bible and the Liturgy, given by Fr Sebastian Carnazzo, in which he explains how the Bible is primarily a liturgical document. This is an inspiring class that, for me, connects the whole educational ethos of Pontifex in the bible and the liturgy - in accord with the Catholic understanding of education ultimately the role of our teachers is to direct all of us to the Teacher who offers divine wisdom.

The study of Scripture in the classroom is valuable, of course, but as the lecture explains, primarily it is to the degree that it deepens our reception of the Word in a liturgical setting. Through the readings and chants of the words of Scripture in the Mass, Divine Liturgy and Divine Office, we are evangelized and catechized most powerfully. We are formed for supernatural transformation through Christ, and as evangelists who carry the word out to the unevangelized and uncatechized in the world.

The sources Fr Carnazzo uses to support this idea are the writings of the Church Fathers, the descriptions of the historical and current practices of the Church, especially in Her worship, and Scripture itself, as well as two recent books, The Bible and the Liturgy, by Jean Danielou, and Baptismal Imagery in Early Christianity by Robin Jensen.

There has been so much in this course that was worth highlighting, but I want focus particularly one aspect which I found enlightening, namely, the Biblical descriptions of evangelization. This is done through the description of salvation history as the part of the ongoing story of humanity in which we are protagonists right now.

Fr Sebastian described to us how at various times, Patriarchs, Prophets, Apostles and Saints of the early Church addressed the gathered people and told them their story. It would be modified according the assumed knowledge of those listening, sometimes starting with a description of the Creation, at others with Abraham. So, for example, we might think of Joshua talking to the Israelites before crossing the Jordan, or the martyr St Stephen addressing the Jews before he was stoned to death. The point was to make those listening, Jew or Gentile, understand that this is their story too, just as it is our story. The consummation of this story is in the reconciliation between God and man, through the Church, by the death of the old self - united to Christ crucified - in baptism; and by the rebirth of the new self - united to Christ’s resurrection and partaking of His divine nature - through Confirmation and the Eucharist.

The words of the liturgy and of scripture in the liturgy tell this story for us too, both prosaically and poetically, through the readings, the chanting of the psalms and canticles of the Church; they give us a mystagogical catechesis (one that deepens our grasp of the mysteries) so that we are prepared for that supernatural transformation in Christ that is available to us through the reception of Christ’s Body and Blood. All of this is made easier for us to grasp of course, when the external forms of the liturgy - the way in which it is celebrated, the art, the music and the architecture for example - are in harmony with this end.

This approach to evangelization, engaging outside the church building with people who do not have Christ - the telling of the story which was used by the early Church - works because it appeals to something that is deep within us. Every one of us knows instinctively that this is what we are made for. The task for each of us is to reveal that grand story, so that the listener can place his own personal story into the drama that it describes. Quite how we do this in the many situations that we are likely to deal with in life is another matter, but each of us will be able to to do it, with God’s grace, to varying degrees according to our calling. But, here is the key thing, it seems to me: our actions and words must point to this story that is the preaching of “Christ crucified.” At the very least, having a clear idea of what it is we are going to say is the most important thing. Much has been written about this elsewhere in the context of, for example, the New Evangelization; Pope Emeritus Benedict XVI speaks on the subject here and here.

This principle also tells us the purpose of the study of the history and great works of the culture. Taking history as a subject first: all history, to be of any human value, must be a participation in salvation history, and so must be seen as an aspect of Christian history. Just as every person has a story, whether he has lived his life as a Christian up to a given point or not, one that has the potential for a happy ending through the Church; so also every natural association within society has a story that, in the context of a Christ-centered view of history, participates in salvation history. This is why we need stories that reinforce these natural associations in a way that appreciates the natural hierarchy of each, and places the Church as the highest in value. (I am not arguing here for political power for the Vatican by they way). Therefore, the study of history can be a history of all peoples and all times, but always seen in the light of this principle. It should focus especially on the history of the societies that the person being taught belongs to, his country, his local neighborhood and for us, Western culture as Christian culture.

Just as important as the teaching of the facts of this history, is the teaching of what history is, why it is being taught, so that the student always places what they are learning into this context. This gives us a sense of our place in the world and where we are going, and whether or not we are on the right path. It also stimulates our faculty for seeing things historically, so that when we are presented with the ultimate expression of our history - salvation history in the liturgy - we are able to respond more deeply for the glory of God.

Poetry and literature tell our story in another way, the story itself is the same. In a wonderful talk last year at the Center for Ethics and Culture at the University of Notre Dame, Alasdair MacIntyre spoke of the need for the reading of poetry, which preserves the collective memory of who we are. I was moved by what he said and agreed wholeheartedly, in principle. But I remember thinking at the time, this is fine for those who like poetry, but what about those like me who hate it. What was not said is that, like history, the teaching of poetry and the cultivation of an enjoyment of it ought to have an even higher end in mind. That end is the telling of my human story and the development of the faculty of responding poetically, so to speak, to the poetry in the liturgy and especially the psalms. What I now realize is that so much of the literature and poetry that I was taught years ago didn’t speak to me of my story, either because it wasn’t contained within it, or because I wasn’t taught how to see it. Whatever the reason, it was not pointing to the ultimate poetry that helps transform me and which, I now realize, I was longing for even before I found it in the liturgy of the Church prior to my conversion. Perhaps if it had been presented to me in this way, I might have responded differently.

I also think that I am not by inclination particularly literary or poetic (referring to written poetry) by nature. I respond much more to art and music. Therefore while I do now appreciate the value of introducing it to those who are naturally of a literary bent, we should not think only of the written or spoken word as ways of telling stories. In fact, the whole of the culture in some way ought to participate beautifully and gracefully in the telling of that story. Art and music can do this through their beauty, not simply through the telling of a narrative, but through the cosmic beauty of form that can communicate truths beyond words. They can stimulate that deeply embedded faculty in our hearts that is receptive to the Word, the single encapsulation of whole of the story. In the end, by whichever route we get there, the goal is to be as literary as we can be in regard to scripture and the words of the literature. I feel no sense of guilt or lack in that I now rarely read a novel or poetry outside that context. I do pray the psalms daily and love them.

The images of the church should be directed to this end, in harmony with the liturgy, of course. This should be especially so in baptistries, where Christian initiation begins, along with the other rites of initiation from which it should not be separated in our minds (Confirmation and first Communion.)

This is a point that should be appreciated in designing an educational curriculum, I think. While all should be introduced to a canon of literature and poetry for reasons outlined, we should accept that not all will respond to it the same way, and not all will wish to spend their lives enjoying poetry. Part of the goal of such an education is to find those aspects of the culture to which we respond most readily and creatively, and through that door, stimulate our ability to know connaturally so that we can participate in the liturgy actively.

Connatural knowledge is sometimes also called synthetic or poetic knowledge (rather confusingly, I think, given that it is not about the means of communication of truth but about the form of knowing. This is not restricted to poetry or any written communication of the truth in the sense that the word is generally used today). Connatural knowledge is that intuitive grasp on the whole by which, for example, we know and love a person on meeting them, as one hopes to do when encountering Our Lord in the Eucharist.

This explains why the evangelization of the culture is so important. When the very fabric of our culture from top to bottom reflects aspects of this story it will be beautiful. Another speaker at the same conference last year, Roger Scruton, (who spoke on this occasion on the joys of wine) summed up the need for beauty in the culture succinctly in his book How to Be A Conservative: the beauty of the culture, he wrote, tells us we are “at home in the world.”

Here is one little piece of anecdotal evidence for the truth of this, taken from my own experience, something has happened since I first heard this and thought about it: I don’t think I have ever mentioned baptism when talking about the Christian life to non-Christians. This is something that I should mention, just as Philip mentioned it to the Ethiopian in Acts, as it will resonate with them in some way, appealing to their natural instincts. This is a bit of a preachy leap, for me but I resolved to look for opportunities...

With my brother, I have started a group here in the Berkeley, California area that meets weekly at St Jerome Catholic Church, and offers discernment of personal vocation. (We call it “The Vision for You.”) We aim especially to connect with people who are delving into New-Age spirituality and who are looking for a purpose in life. We present it as a series of spiritual exercises in the 'Western mystical tradition'. While it is pretty obvious that what we do comes from Christianity, we do not demand the people become Christian in order to participate. Rather, using a sort of Pascal’s-wager approach, we suggest that if they are willing to try this, then they will feel the effects; this is precisely what was done to me nearly 30 years ago, and as a result I converted from atheism. The hope is that it will send people on that journey, just as it sent me; however, I tend to let people conclude for themselves what the source of the power that we have as a small group of people who are working their way through this.

At each workshop, those who have experience of the process share personal stories of working through it. I realize now that what we are doing is telling our stories and placing them in the context of our ultimate purpose as we see it. I do always mention that I became Catholic as a result. The last time I did so, I added something that I hadn’t before; I said that although I wasn’t Christian at all when I went through the discernment process, I am nevertheless very grateful to my parents for having had me baptized as an infant. I now believe, I said, that although I was unaware of why at the time, that this is what placed within me an additional facility for responding to God’s grace during the process, and this is why it was so life changing for me.

I could see some cringing a bit as I mentioned baptism and grace, but after the workshop was over someone approached me. He told me that he was ill with cancer and had never been baptized. He had assumed that it wasn’t worth it, but as a result of what I said, he was thinking that he might go through with it. I encouraged him to do so, of course.

This is just anecdotal and not definitive proof of anything, but it does help to convince me that this is something that I should try to include in any account of my story in future!

A Catholic Challenge to Modern Population Medicine

Moving Mountains - A Socratic Challenge to the Theory and Practice of Population Medicine, by Dr Michel Accad

(available from Amazon.com)

This small book is an accessible and readible account of the philosophical basis of public policy relating to medicine, which has dominated government health policy for the last 30 years at least. It arises from a branch of medicine called epidemiology, which studies the possible control of disease by statistical analysis of human behaviour and the frequency of the occurance of symptoms and disease in population groups and any population as a whole.

The writer, Dr Michel Accad is a medical doctor who regularly publishes peer-reviewed articles on the philosophical aspects of healthcare and medicine and a Catholic who is concerned especially about the de-personalization of healthcare in the US. In this book, by reference to real policies and their effects, and with analysis backed up by scientific research, he explains why, in his opinion, it has gone so wrong. He does so through the vehicle of a conversation in the style of a dialogue that one might read in Plato's works. It is an imagined conversation between the ancient Greek philosopher Socrates and Geoffrey Rose, an Englishman who died in 1993 and who was one of the intellectual founders of population health medicine.

I would urge all doctors and anyone involved in the formulation of public health policy to read this book and consider its implications.

The starting point for our consideration is the bell curve showing the links between particular behaviour and risk of a particular in the population. In the examples given, which one assumes are typical, they appear to indicate that a certain proportion of the population is always at risk. So far so good.

The public policy that is implemented as a result of this analysis is based on an assumption that if the overal pattern of the symptoms or behaviours  of risk in the population can be controlled so that a smaller proportion of the population appear to be at risk, the rate occurance of the disease of individuals will go down too and therefore, the general health of the population will go up. So for example, blood pressure can lead to heart disease so, the argument runs, if you reduce the average blood pressure of the whole population, you reduce the rate of heart disease in the population as a whole because fewer people are at risk.

By adopting this assumption, government directs public health policy therefore to controlling, not the desease, but the shape of the bell curve - and so the signs of risk to the disease or the behaviours that is felt lead to this disease. (Public policy cannot ever control disease directly because diseases, microbes are not subject to legal penalty or taxes only human beings are.)

At first sight this seems reasonable, but in fact there are a number of problems with this method and the assumptions behind it.

Most important first: however strong the argument in advance of implementing such policy, in practice there is little evidence that it actually works in helping people. Where there have been improvements in, for example, heart disease rates, it is as easy to demonstrate that these would have occured anyway due to improvements in other treatments or better advice delivered from the doctor, with people freely choosing to adopt them rather than being influenced by government actions directly - legal or financial regulation - to behave in the desired fashion.

Second, there seem to be a number of flawed assumptions that arise from bad philosophy - a wrong understanding of society, of man and even of the scope of natural science that lead to unanticipated detrimental effects as a result of implementing such policies.

Contrary to the assumption of those who create public policy, society is not an entity that can necessarily be controlled by the laws of cause and effect of classical physics in the way that a physical process can. Attempts to do so always involve centrally planned policies that attempt to direct behaviour either through incentives (usally tax) or legal penalties and thereby direct behaviour by restricting the freedom of all individuals for the sake, supposedly, of the few within the population who might have been at risk before and will not be now. We can't test this properly, because we never precisely who was at risk before and who will be saved by this policy because the figures that apply to the whole population are derived from statistical sampling of a small part of that population, not by looking at every person in the population.

We are not looking at Fred or Mary and saying previously you were at risk and now you are not because we can measure how your health has improved. We are looking at a small sample of the population and looking at the statistics of that sample perhaps a thousand people and then applying the numbers to the whole population. This makes it a hypothesis that is very difficult to test even if it works and produces the desired bell curve because at best we can suggest that as a result some unkown people are at less risk. The difficulty with this is that we cannot then check for unforeseen secondary effects in the particular people who are apparently saved that might be worse than if the policy had never been implemented. We will come back to this.

In practice, though, we don't always get the desired bell curve that public policy seeks to create. society as a whole rarely behaves as the policy intends. People cannot be controlled in this way because even if they stop doing one thing, it is almost impossible to predict what they will do instead.

Furthermore, risk of disease is rarely connected to one condition only and so the alternative behaviours that are induced by our policy might lead some people into greater risk of ill health, perhaps arising from some other unconnected disease. The mechanisms are always more complex than the picture used to describe them. This is the effect that free market economists know well - unintended consequences.

It gets worse. The recieved wisdom of what is good and bad for people changes over time and public policy, even if perfectly effective in controlling behavious, will always be behind the times as it is very slow to implement policy and change behaviour. Many will be aware that the behaviours percieved as good change as times goes on - eating butter used to be a good thing , then it was bad thing and now it is good again; saccharine was good and now is bad etc.

Nevertheless, one might argue, the science will very likely get better in time and at some point perhaps public policy could catch up and reflect it. But here's the point: even if we understood perfectly what patterns of behaviour were best, and even if we understood how to control the pattern of behaviour and the symptom levels in population as a whole, as indicated by statistical sampling, - in other words even if the problems so far mentioned did not exist - this approach would still not help us to promote health. This is because we do not know directly how the pattern in the society as a whole relates to the effects and behaviours of any given individual in that society. So, while we might show how a public policy might affect the public, we have very little idea how it affects each person within the public.

Accad points to this and explains how, in contrast, the promotion of personal free choice made in conjunction with advice from doctors that takes into account personal needs is still the only way we know of actually achieving greater health.

This approach to medicine doesn't just lead to policy that tries to control the behaviour of doctors and patients. It affects too the organisation and funding structure of healthcare systems directly and, Accad argues, detrimentally. A healthcare system geared towards this end of personal freedom and the common good, in the way that Catholic social teaching describes it, would look very different from any of the systems for providing health that have existed in the US and Europe over the last 50 years.

The health insurance model (including Obamacare) in the US and the single payer systems of European countries each have this philosophical flaw built into them to detriment of both patients and doctors. So the benefits that arise from these systems are there despite the systems, not because of them. And however, much those in Europe might argue that their system is better than the America (or vice versa) each is worse than what a system could be if Catholic social teaching based upon a right anthropology were taken into account. The drawback is that the person paying is not directly involved in the provision of care ie doctor or patient, but rather is an insurance company or government department. This means that they direct policy according to trends in overall expenditure without reference to individuals and so the same problems occur. All those aspects of healthcare to which a price can be attributed are governed by this bell curve mentality. As a result the provision of healthcare becomes bureaucratic and politicised, pressures are put on doctors to change ethical practices, and even leads to the redefinition of terms such as health and disease to validate government policy to the detriment of patient and doctor.

This is not to say that we should expect no limitation on funds, clearly monetary considerations must come into play or else insurance company, or state would go bankrupt. Rather, it says that we should look for the most efficient form of distribution of a scarce commodity with alternative uses to which a price can be attached. That is the free market. Where freedom is greatest prices are cheapest and availability is greatest. Furthermore, because this encourages free choices by the main protagonists - health care providers and patients - it allows also for the greatest flourishing of those aspects to which a price cannot be attributed, for example personal care and attention and a genuinely fruitful personal relationships between those involved.

I hope very much that doctors and those who influence health policy will read this book and think about how things could be improved. You can order it online from movingmountainsthebook.com

Dr Michel Accad is a medical doctor with a practice in San Francisco who regularly publishes peer-reviewed articles on the philosophical aspects of healthcare and medicine. He has also has a strong interest in the philosophy of nature and philosophical anthropology and has published in The Thomist. He gives lectures around the country on these topics and on medical ethics, medical science and healthcare economics. He is a committed Catholic and faculty member of Pontifex University, for whom he is currently creating a course on the Philosophy of Nature and Philosophical Anthropology as part of the Masters in Sacred Arts program. You can contact him directly through his blog AlertandOriented.com

How a Catholic Understanding of the Human Person Can Revolutionize the Economics of Health Provision (and the Beauty of Hospital Buildings)

I attended a talk on healthcare at Star of the Sea Catholic Church in San Francisco last week given by my colleague at Pontifex University, Dr Michel Accad last week. Much of the talk was devoted to consideration of the options that Catholics have for affordible healthcare.

Dr Accad spoke in detail about sharing ministries as alternatives to health insurance; and how many general practitioners are structuring their practices in a new way so that they are employed directly by the patient and act as their advocate. This is in contrast to the usual arrangement where the doctor effectively becomes an agent who sells treatments and drugs for the providers to the payer, who is not the patient, but the insurance company.

In his new model, in contrast Dr Accad is motivated to act on behalf of the patient first, and so is an advocate for him, striving for example to bring down the cost of treatments and drugs by negotiating with pharmaceutical companies. He is also able to devote much more time to their care. Furthermore, it enables him to offer treatment that is in accord with Catholic social teaching.

He opened up his talk by asking the question: who here thinks healthcare in this country is going well? No hands went up. He then described how it is possible to have healthcare options that allow for the flourishing of the patient as a human person - body, soul and spirit - and a relationship between doctor and patient that is fruitful for both patient and care provider.

In the Q & A session afterwards, it became apparent from the discussion that this was of interest not only to currently disgruntled patients but also to doctors who are frustrated that they cannot give the sort of treament they would like to give. Several spoke of this frustration under the current system.

Dr Accad is a medical doctor (qualified both as a general practitioner and as a cardiologist) who is able to take a broad view of the crucial issues involved. He is one of those rare people who is simultaneously able to analyse the details and to synthesise it all into the big picture. A committed Catholic he writes about medicine and is published in peer reviewed medical journals; he writes about the philosophy of nature and philosophical anthropology and has been published in The Thomist; and he has delivered papers on the economics of healthcare at the Mises Institute. He also has a popular blog on how these issues impact the medical profession called Alertandoriented.com.

Of course, I was interested in the details of how one might have access to affordible health care that is aligned with Catholic social teaching and imbued with genuine consideration of the patient as a person (and if you are interested in this I suggest you contact him through his blog, here). But aside from that what I found fascinating what his description of how so many of the problems associated with healthcare today, even before Obamacare, eminate from a dualistic understanding of the human person as a physical body occupied by a thinking soul; rather than as a single entity, a profound unity of body and soul. This is not a bad thing in itself, a deep understanding of how the physical function fo the body work as has lead to great strides in medicine; but it does place limitations on the scope of treatment through a neglect of the happiness of the person and his spiritual needs. If the underlying problem is spiritual, for example, while treatments might cause the physical symptoms to be alleviated, physical ailments might resurfacing in other forms.

And it runs even more deeply than that. Without a clear picture of what human person is, the idea of a health as a goal for treatment is not clearly defined either. This has lead over the last 100 years or so, to the creation of a 'health market' which has been engineered to serve that idea of a human being as machine - as an object to be repaired; rather than as a person who needs health in order to direct his activity towards his ultimate end, which is union with God. Consequently, the patient occupies a role in this financial model that is more akin to the car in the repair shop, in which the insurance company is the car owner and the doctor is the mechanic. While this model might work well for cars, when the doctor's surgery becomes a glorified human 'body shop' the misalignment and conflict of interests and goals leads to secondary (and more) problems in health care.

As soon as the current system, under the guidance of the US government began to be introduced in the early 20th century, he told us, it caused escalating costs because there is no incentive for the key players to keep costs down on behalf of the patient. The doctor seeks to serve first the specialist treatment providers, pharmaceutical companies and insurance companies, rather focussing primarily on the restoration and maintainance of the health of the patient (however we define the word).

Those who wish to know more about the connection between the structuring of the health market and anthropology might be interested in reading (or listening) to Dr Accad's talk on the subject given to the Mises Institute last year, which can be accessed via his blog, here: From Reacting Maching to Acting Person.

Dr Accad is currently preparing material for his first course for Pontifex University on the Philosophy of Nature and Philosophical Anthropology. He is a wondeful addition to the faculty precisely because of his ability to draw themes from one area of expertise and apply them in another. The development of this ability to think synthetically is part of what a good Catholic education ought to aim for and it is why a formation in beauty is so important as part of that education. When one apprehends the beauty of something, one is able to see not only how it's parts are in right relation to the others (due proportion); but also how the whole is in accord with its purpose and in right relationship with all that surrounds it (integritas). In short one is able to look at the detail (analysis) and place it in the bigger picture (synthesis). This is why beauty and culture (which touches every aspect of human life, including economics and health provision) are so intimately related.

As Catholics we must strive always to take that mental step away from whatever field of study we are engaged in and ask ourselves the big question - how does this relate to man's goal of union with God through worship of Him in the heavenly liturgy, in the next life, and the earthly liturgy in this.

As an inspiration for this in the field of health provision I look to the Spanish saint, John of God. Here protrayed by the 17th century Spanish artist, Murillo:

St John of God, (1495 – 1550) was a Portugese born soldier who founded a hospital in Granada, Spain and whose followers later formed the Brothers Hospitallers of Saint John of God, dedicated to the care of the poor, sick, and those suffering from mental disorders.

How many doctors today are taught of the need for God's grace in their work for the benefit of both patient and doctor, I wonder? One only has to look at the design of hospital buildings past and present to see how differently the provision of care was considered. Below are photographs of the exterior and interior of the Hospital de Tavera, Toledo, Spain, built in the 16th century (which today is a museum housing many El Greco paintings):

And here is a standard National Health Service hospital building, in Darlington County Durham in England:

The standard criticism of the modern building is that it is only designed for utility, hence its depressing appearance. I would argue something different: in my opinion beauty does have a utility, which is to raise hearts and minds to God. That is when a hospital is building is beautiful, it's beauty helps serve the spiritual needs of tall the people in the care community it houses, and for good of all concerned. Furthermore, just as the person is a profound unity of body and soul, the hospital should be a profound unity of design that aids the function of restoring the health of the all aspects of the human person. Such a hospital will be beautiful and will optimise its functionality of the provision of both spiritual care and physical care. It is no accident that the hospital, just like and educational institution built in this time, has the look of a monastery. Both institutinons have aims that cannot be separated from the supernatural end of the human person and both aim to engender a community in which all work toward this end for themselves and others.

Here's another example, Broadmoor Hospital was purpose built as a prison for criminally insane and houses some of Britains most violent and notorious convicted criminals.

Those who are committed to its care are almost certainly going to live the rest of their natural lives behind its walls. The original building was completed in the mid-19th century. It does not have the cloisters and prayerful feel of the 16th century Spanish hospital, I suggest, but nevertheless it is a listed building. The prison/hospital is currently being redeveloped and there has been discussion as to what use the original building will be put to. Newspaper reports suggest that one suggestion is to turn it into a luxury hotel. While I am sure that it was not pleasant to be an inmate there, it seems that in some ways our Victorian forebears had greater insight about the need for the care of the souls of the most reviled members of society than modern society and how to do it.

The Darlington hospital no doubt has dedicated staff and patients receive the best that the National Health Service in the UK has to offer and the National Health Service has its problems too for similar reasons at root, although manifested in different ways (It is interesting to note that while the quality of care in many measures is not a good as that offered by the America system, satisfaction of patients is based upon anecdotal evidence, higher). Regardless, the design of the building tells us something about how the human person who is to be treated is viewed, I suggest. I would argue that it is not even the optimal design if the provision of physical care, for the physical and spiritual cannot be separated. The building of beautiful hosptials is not an extravagance, but ought be considered a necessity that will give us the most highly functional hospitals by any measure. As we can see through Dr Accad's discussion of the provision of healthcare, care of body and soul cannot be separated, just as body and soul cannot, in reality, be separated in the person being cared for.

Neglecting the spiritual aspects of man will almost certainly affect detrimentally the care of even man-as-machine in ways that cannot always be anticipated. Let us be clear. Wrong anthropology does not suddenly invalidate what is good about modern medicine or its methods or even its method of delivery. And despite the problems, it should be said that there is still much that is good.. It simply allows to locate the source of the problems that remain with the recognition there is more to be done. Once we recognize that man is a single entity that is both physical and spiritual who is made to worship of the God in the sacred liturgy and that this is the activity that all others are ordered to in this life, then we have the greatest chance of restoring all aspects of human health (and having beautiful hospitals once again!).

New Weekly Men's Group, Vespers and Spiritual Exercises, SF East Bay, California

The Vision for You, a group devoted to discerning personal vocation through guided prayer and reflection meets weekly at St Jerome Catholic Church, El Cerrito, Califonia, every Wednesday 7.30pm starting Wednesday 18th January.  We offer a series of workshops that explain a program of prayer and spiritual exercises rooted in the Western mystical tradition. Each week we sing Vespers according the structure of Evening Prayer of the Anglican Ordinariate. As the patron of the church of our first group, we have chosen St Jerome as a patron. This painting by Caravaggio seems so appropriate to me. St Jerome is being inspired in his work of writing the Vulgate. I like the figure of St Jerome particularly because it shows me that a man who was by no means perfect, could contribute so greatly to the work of the Church because of his faith and desire to serve God.

While the Vision for You Group is rooted in Christian spirituality, you don't have to be Christian to benefit from this. I know this because I went through this process nearly 30 years ago when a man called David Birtwistle promised me I could have a life 'beyond my wildest dreams' and showed a program of prayer, meditation and contemplation that he promised would open up my life.

I was a frustrated wannabe artist who was so dispirited I hadn't even picked up a paint brush for several months. I was attracted by the possibility of getting some structure and direction in my aimless life and thought I'd give it a go. I was a bitter atheist at the time, but put aside my prejudice sufficiently to enable me to do what was suggested (even though I was highly sceptical). This began a spiritual journey which gave me just what David had promised, and led me to being recieved into the Catholic Church.

I am still on that spiritual journey today - this is what the Way of Beauty is - and a group of us who have been through this process offer this to any who wish to participate, free of charge. David died of a heart attach nearly 20 years ago now, but this method of discernment, inspired by Christian mysticism, is still working in the lives of many people. We are inspired also by Pope Benedict and his method of promoting supernatural transformation in Christ, as explained in his paper on the method of  the New Evangelization.

Please do come along if you are interested.

For those who are nervous about the singing, don't be. First of all, you don't have to stay for the Vespers if you really don't want to. But second, singing experience is not necessary and we will teach everyone, no matter how poorly you think you sing. Everyone can sing well enough to pray the psalms with us! As a taster here are recordings of two the works we sing. The St Michael Prayer and Paul Jernberg's Our Father and the Canticle of Mary. Believe me, you will be singing with us on week one! https://www.youtube.com/watch?v=oElTV1jogS8

https://www.youtube.com/watch?v=UC8kqYYbJEc

https://www.youtube.com/watch?v=fwIoAzbo9wA

Breaking Bad! Why Misalettes Push People Away from Church

Especially the young!

Why has church attendance dropped off so dramatically in the last 50 years? There are a whole range of reasons, I am sure, and nearly every article in this blog is addressing the issue in one form or another, but if you ask me one of the main contributory factors is the music that is generally heard at Mass. And the degree that the music is influential, I would say that the influence of the style of music that is epitomozed by that offered by the most common pew misalettes is contributing to that decline.

I am talking about a style of music that seems to have started to develop around the late 1960s and sounds to me like a sort of fusion of American folk, Disney and Rodgers and Hammerstein musical and a hint of Victorian hymnody. Whatever you call the genre, it is responsible, I suggest for many to flee the pews.

Before anyone writes to me to say how much they like the music they hear each Sunday, or tell me how high quality the painist or band that plays and how heartily those in the congregation that do attend join in, I want to say one thing. My argument, as you will see, is not based upon the assertion that it is bad music. I do have strong opinions on that, but my personal taste has no bearing on the conclusion that I draw. My argument is that the whole philosophy that has contributed to the composition of such music is fataly flawed.

Even if we assume that the music we hear in Mass is of the highest quality within its genre, it would still have the same effect, which is to tend to drive most people away from Mass. (This is despite the fact that its proponents usually claim that it does the opposite.) Furthermore, if the standard of the musicianship is of the highest order, and the choir consisting of the best trained professional singers  it would not chage my argument one iota.

The problem in my opinion lies in the whole ethos that underlies the creation of music for the missals. The goal, it seems is to connect with people by giving them music that derived from popular secular forms. The problem with this approach is that it can only connect to those people who actually listen to enjoy that style of music out of church. Today's westerm society is so fractured that tastes vary hugely and there is no style of secular music that has universal appeal. As a result, whichever style we choose, and however well it is done, it can only every hope to appeal to a small part of the population. The rest will be driven away. So if we create music that appeals to those who were young in the late 1960s it will be detested by those who were young in the 1970s (like me) and all people who are younger.

If we go for something that is actually cutting-edge today and takes its form from current youth culture, it will drive away all the older generations and even most youth, because youth culture is itself fractured and there is no single style that all seventeen year-olds listen to. I just think of what was going on when I was seventeen - the sixth form in Birkenhead School in the 1970s (for Americans the sixth form is the upper two years of high school) was divided between punks, heavy metal fans and progressive rock fans, with a few who liked disco, funk and soul. If you're interested I liked obscure progressive rock and jazz fusion, such as Return to Forever, Frank Zappa and Be Bop Deluxe. I used to like being seen with the LP covers tucked under my arm to show people I had highly developed music taste. There was a little crowd of Christians who were trying to be cool and had their own Christian rock music (After the Fire was the group they all liked). To me they seemed to be a sad bunch who obviously 'just didn't have clue' if they thought that stuff was any good. We all used to make fun of them. It wasn't until I was 26 and met a Christian who was just as disparaging about 'cool' Christianity (although less rude about them personally), and who didn't even care about trying to be cool, hip and trendy that I started to take Christianity seriously. (He was more temperate in his language in his descriptions that I was, I should point out.)

I would refer you to the Tradition is for the Young articles by Gregory DiPippo on this blog to back up my case. But before get too smug, traditionalists aren't exempt from this. Much 'traditional' church music has the same fault. Holy God We Praise They Name or Immaculate Mary is really just the On Eagles Wings from you great-grandmother's day. All of these hymns - even the vast majority of non-chant hymns in hymn books that are considered fairly traditional, such as the Adoremus hymnal or the St Michael hymnal, sound off-puttingly 'churchy' to most people outside church in the wrong sort of way and drive more people away from church than they attract. I have heard them used to top and tail a Latin Mass in the past. I for one can't bear any of these hymns - they sound just like what I grew up with going to Methodist church. I hated them when I was eight and I hate them now. It is one of the main reasons that I chose to escape from going to church when I was given the choice at 13 years old. But even if this weren't the case and I had grown to love traditional Methodist hymns and so now loved 19th century Catholic hymns it would be no argument for their inclusion in the liturgy. The vast majority of the rest of the population would not like them and they are not instrinsically liturgical.

I would use the same argument about music that is derived from 19th century operatic styles (so strongly criticized by Pius X) is just the same. We may feel that it is a higher form of music than that provided by Christian rock band liturgy, but it will still only appeal to very narrow group of people and will drive all others away even if was written for a Latin Mass.

If the argument about the music at Mass is raised, very often the counter argument is that we have to be 'pastoral'. It will be said that most of those attending church like the music they are getting. There would be a revolt if we changed what is so familiar to them, so the argument runs, and so we can't risk changing the music even if we wanted to. It is almost certainly likely to be true that the people attending like the music they are getting, Those who attend do so because they like, or at least can tolerate the music. Most of those who can't stand the music they hear at Mass just stay away. They find the experience so excruciatingly, embarrasingly banal, that they go jogging or decide to read the Sunday papers with a cup of coffee instead. This is why, I suggest, the majority of teenagers leave the moment their parents give them permission to make their own minds up. And, for the reasons already described, it will be true even if we try to find a form of music that teenagers love - because there is no form of music that most teenagers love. It doesn't exist.

We can go further than this and raise another argument as to why the approach of the common misalette music composers of aping popular forms will inevitable cause a decline in attendance at Mass. Suppose we did have a society in which wider culture was more homogeneous and tastes were more consistent across the generations, it would still be a flawed approach.

I understand that many African cultures, for example, are more homogeneous and less fractured than western culture. This being the case, even if the music of the Mass reproduced the popular African style perfectly it would not be the right approach. This is because, although it might well appeal to a wider proportion of the population and you might find higher attendance at Mass, it would not facilitate a deeper and active participation in the liturgy.

This is because the liturgy is the wellspring of its own culture and an authentic liturgical culture must be at the heart of any Catholic culture of faith. It is separate world that appeals to what is universally human in us and draws us to God in a way that is impossible for secular culture. The music that draws us to it and directs to the Eucharist most powerfully is that which is derived from a liturgical culture, which is exemplified, the Church tells us, most fully in the forms in existence today in gregorian chant.

Secular forms that draws us to itself but then they are so far removed from the forms of liturgical culture that even in the context of the liturgy, they are inclined to leads us back to the secular values, not on to the Eucharist. It is less likely to draw us into a genuinely deep and active participation in the worship of God. In the long term therefore any secular music, even if it draws people to Mass, will inevitably lead to more people leaving the Church than staying because the music is distracting them from what is at the heart of the Mass. As a result there is less of force that draws us into a supernatural transformation of Christ. There are fewer Christians therefore with the capacity for transmitting an authentic Christian joy to those with whom they interact in their daily lives outside the Mass and the liturgy. With this reduced power for evangelzation, we will lose our lifeblood.

This is why Cardinal Sarah said in his address at the Sacra Liturgia conference in London that even in Africa the liturgy is not the place to incorporate African culture. Rather, because the liturgy has its own culture, which is uniquely and universally Christain, it should seeps into the wider culture and transforms secular culture into something greater, that is in some way derived from and points to the liturgy while simultaneously being distinctly African.

The only hope we have for the Mass to be a true long term draw capable of touching the many who currently have no interest in attending, is to focus on making chant the dominant form. We must even be prepared to allow a few of those who are currently at Masses with misalette music and who are there for the wrong reasons to drift away or even be prepared to carry on in the face of strong complaints from these people if it is changed.

While having chant at all Masses would help, even then it is not going to be enough. We must the chant in way that is going to connect with the ordinary person and this probably means singing at a pitch that is natural for men to join in. I have been told, that men are less likely to join in if you have female cantors. This is not because of an inherent sexism, but because the female voice is a pure sound and men find it difficult to come in at a pitch an octave below what the cantor is singing because it is totally separate from what he is hearing. If there is a male cantor, the men can emulate what they hear and the women still find it relatively easy to join in because the male voice contains higher harmonics which allow for a connection with female voices. Even if men are chanting, there is a style of chant in which a thin, strained, high pitch voice is encouraged. This sounds effeminate to me and I suggest has the same problems for congregations - it is not only as difficult for most men to sing along to as a female voice, but it is also difficult also to listen to, as the hearer struggles to make a connection to a voice that cannot be emulated.

Were the approach to music correct and, dare one hope for more, our liturgies were celebrated in the way that the Church truly desires, would this then bring huge numbers back to churches? In the long run, I would say yes, but in the short run, almost certainly not. But it would bring to the church immediately those who are genuinely looking for what the chant directs their hearts to - God. In the long term this would have a knock-on effect. More people who attend Mass would be participating more deeply and become emissaries of the New Evangelization, shining with the light of Christ as they go about their daily business. This, in turn, would draw others to Christ. Because we have free will this is never going to be the whole population, but I do believe that it can be far more than we cuurently see in our churches today.

Has the throw-away misalette approach to church music had its day? Probably not yet, to judge from the support that so many bishops, priests and choir directors currently give to this style in cause of a faux pastoralism, that actually alienates most people. But because of this alienation, it does contain the seeds of its own distruction. Unless it is replaced by something else, under the influcence of brave pastors and choir directors who are prepared to take the truly pastoral approach and take into consideration the majority who aren't at church, then we are doomed to steadily declining congregations until the generation that currently listens to this style of music grows old and disappears. Faith tells us that the parasite will die before it has killed its host. The Church will remain; and so one has to conclude that at some point the music has to change before it brings the whole edifice collapses.

Please! A Simple Version of the Anglican Ordinariate Office for Lay People

Here is a both a request and proposal for the Anglican Ordinariate, if I may be so bold.

Can you produce a version that can be reduced to a short booklet that contains the psalter and the unchanging prayers? If in addition to that we can find a way for the changing parts to be supplied by smart phone then I think that you will have something that will really catch on. It will be simple to use and cheap.

If the Ordinariate would produce something like this, then I for one would use it and promote it tirelessly. I know of several others who would be just as enthusiastic to see such a thing. Furthermore, I am ready to create online courses at Pontifex University that teach the singing of the Office in the home, and this would be my prefered option to recommend to families and lay people.

The Customary of Our Lady of Walsingham is wonderful but complicated to use and I'm never quite sure if I am getting those parts proper to the day right - and I am reasonable adept at breviary navigation. I have spoken to a number of lay people who bought it and gave up. This would work well for religious and those especially devoted to the Office who are likely to take the time to work out what

I am a great fan of the Divine Office as given to us by the Ordinariate because I think that it creates the possibility of greater take up of the praying of the Office by lay people. It offers the chance of praying the full psalter (ie no missing cursing psalms) in English in a translation that is both poetic and accessible. I have written about this in previous articles, such as this one here: The Anglican Ordinariate Divine Office - A Wonderful Gift for Lay People and a Source of Hope for the Transformation of Western Culture. (And incidentally, if you think I was resorting to hyperbole in the title of that article, I wasn't. I really to do believe that it has this potential.)

Looking at the general guide for Morning and Evening Prayer for the Personal Ordinariates (which consitutes a recitation of the full Office), and drawing on its application in the Customary, I think that I can get the psalms for the day and all that is specified in the table below from the St Dunstans Psalter. I would prefer to be using something similar that came with an endorsement from the Ordinariate.

What is missing in the St Dunstan's Psalter are the readings and collect for the day. I can get most of this from Universalis.com via my smart phone. The morning readings are the same as those that are in the Office of Readings. What I don't have is a readily accessible source for the Old and New Testament Lesson for Evening Prayer which is according to an established lectionary - can anyone tell me a website or other source where I might get this easily?

Although the hymn is not mandatory, if I want to use a traditional Office hymn for the day I always go to the Illuminare Publications hymnal.

The other request relates to the way that the psalms are set out. My goal is to sing everything. So please point the psalms so that the natural emphasis of speech is pointed. Then people will compose psalm tones, ideally based upon the traditional gregorian tones, that will conform to this method. If this becomes standard, then there will be the following advantages:

Every psalm tone can be applied to any psalm. That means that for people who are just learning, all they need to know is one psalm tone and they can sing the whole psalter. If they gradually learn two, three or more psalm tones then they can use those too and quickly it become interesting enough for them to be likely to keep doing it. In this system, people can learn many tones and still use this psalter - ie it allows for those with the knowledge of just one tone or those who wish to use 120 tones to have the same psalter. Also, if this pointing method becomes standard, then many people will start to compose, and as new and better tones are developed, they can easily be adopted. This allows for the possibility of chant for the vernacular as a living tradition which steadily improves and develops and really starts to connect with people.

When I sing tones to the St Dunstan's Psalter, I ignore the pointing and the tones they give, and I have pointed the text myself according to this method and then I sing tones develop as above. This allows me to teach people to sing it very quickly and I have a regular mens group consisting mostly of people who have never sung the Office before, who are now enthusiastically singing it each Wednesday evening!

This would be in contrast to nearly every other psalter that I have seen in which even if there is some accomodation for singing, the psalm is pointed to fit a particular melody - such as the Mundelein Psalter. The disadvantage of this is that unless you know every tone already, or are musically literate enough to be able to sight read chant, you cannot sing the whole psalter. So beginners tend not to persevere. At the other end of the spectrum, those who are experienced with chant find it too dull. There are only eight or so tones, and this becomes boring very quickly. Furthermore, there is no scope for development of new tones that can be used with this psalter, as every psalm is pointed to fit a particular melody. The result is that you use their tones or nothing, and if you don't like them you're stuck with them.

fyi the first week of the Pontifex University free Advent meditation has a class on singing the Office complete with a description of how to point the psalms and apply our psalm tones.

Pontifex University Faculty to Lead Byzantine Liturgy on UC Berkeley Campus

Saturday, December 3rd, 5pm Pontifex faculty member,  Fr Sebastian Carnazzo, pastor of St Elias Melkite Catholic Church, Los Gatos, CA has instituted an 'Outreach Divine Liturgy on the campus of University of California, Berkeley. Celebrating with Fr Carnazzo will be Fr Christopher Hadley. It is taking place at the Gesu Chapel at the Jesuit School of Theology, 1735 Le roay Ave., Berkeley, CA 94709.

An Outreach Divine Liturgy is the first stage to the establishment of a weekly mission. Please pray for this endeavor and if you are able to, make plans to attend. Dinner will be provided afterwards.

I shall be attending myself, singing the drone (eison) for the liturgy. We would love to see you there, especially any UC Berkeley students and professors!

Aside from teaching theology for Pontifex University on the Masters of Sacred Arts program, Fr Carnazzo is offering our Advent and Christmas meditation, which is offered free. You can sign up anytime and join in what is a wonderful to deepen your participation in this great season in sacred time.

Advent and Christmas Meditation on Art and Scripture

Pontifex University is now offering a free short course, An Advent and Christmas Seasonal Meditation as a promotion for its new Masters in Sacred Arts. It is a meditation in art and scripture for these seasons through to Epiphany It is taught by Fr Sebastian Carnazzo and myself using a method that we have developed for the scripture classes in the MSA program. Each day, Fr Carnazzo, an experienced scripture scholar who, for example, spent several years teaching FSSP seminarians in their seminary in Nebraska, gives a short meditation on the gospel account of the nativity.

Fr Carnazzo, who is also pastor at the Melkite Church of St Elias, in Los Gatos, also has a deep knowledge of the icons of the Church. So he connects the scripture with the icons of the church. I offer additional 'artistic sidebars' on certain feast days during this season and on major feast days we discuss the art together. As a result, this is simultaneously a scripture class that uses beautiful art to communicate truths beyond words and so increase our grasp of the Word; and an art class that explains the scriptural roots of the icons of the Church.

Most importantly, we connect all of this to the worship of God in the sacred liturgy where, one hopes it will deepen our encounter with Him during this wonderful time in the Church year. It includes an encouragement to pray the Liturgy of the Hours in your domestic church and even offers suggestions on how families can sing the psalms as they do so.

Question: why would we be considering the Baptism of the Lord during this seasonal meditation? And who are these figures on fish in the Jordan? And the significance of the rock that Christ is standing on? Answers can be found for free...if you sign up for the course! To go to the MSA catalog page and sign up for the free course: An Advent and Christmas Seasonal Meditation

Gerrit van Honthorst, 17th century, Dutch. The Adoration of the Shepherds.

Way of Beauty now posting at Blog.Pontifex.University

I am taking a break from blogging regularly at the Way of Beauty for a while while I work out the future of the site. I will be posting regularly at the Pontifex.University blog - blog.pontifex.university. Hope to see you there!

Iconostasis, Rood Screen, Communion Rail, or Shag-Pile Carpetted Step

Are we creating a holy place, or fitting out the living room? The nature of the dividing line between sanctuary and nave in a church has been a hot topic over the years. I raise the subject today not to spill yet more ink in complaining about the removal of altar rails in churches over the last 50 years or so, although it is something I do feel strongly about. Rather, I am interested in trying to establish how, with due regard for tradition, we might encourage in the Roman Rite a renewed engagement with art in the liturgy, in the such a way that it deepens our participation, rather than distracts from it.

One thing that always strikes me when I go to an Eastern Rite Catholic Church, (recently I have been attending St Elias Melkite Church in Los Gatos, California,) is how much more naturally priest, deacon, cantor and congregation engage with the icons during the liturgy. In contrast, in the Roman Rite, even in traditional congregations, apart from perhaps the crucifix and altarpiece, the choice of art seems to be governed more by the priest’s personal devotion than liturgical considerations, and there appears to be very little engagement with it during the liturgy itself. At best, sacred art provides a decorative backdrop that helps set an appropriate mood for the worship of God with direct engagement in the liturgy itself, which is largely a hands-clasped and eyes-closed activity.

First a quick presentation of different options available to us.

According to my research, the original division in both East and West was more like today’s altar rail, with gaps or doors for processing. The typical “transenna” might have looked as this one at Sant’ Apollinarre in Ravenna, which I understand was restored in the 20th century.

Another example from the 12th century, at San Clemente in Rome, which seems to follow the early traditional style......

To read the rest of this article, go to blog.pontifex.university

How Do We Re-Establish an Artistic Tradition and Make if Relevant Today?

Pontifex University Will Teach the 13th Century English Gothic Style of the School of St Albans.

When I have had discussions about reestablishment of beautiful sacred art in the Roman Catholic Church (as opposed to in the Eastern Church) it usually comes down to picking an style from the past and then using that starting point from which a style for today emerges. So some feel that the Western Church should adopt the iconographic tradition - and then we get into discussions about which particular iconographic tradition we should go for: should it be the Greek style, the Russian style or a historic Western style such as the Romanesque? Fra Angelico's name also often crops up as a model for today. Some feel that he has sufficient naturalism to appeal to the modern eye, and sufficient abstraction for it to seem other worldly and holy. A third is the style of English illumination in the early gothic/late Romanesque style of the Westminster Psalter, which as painted in the 13th century.

I first started looking at this latter style when I was looking for alternatives to Greek and Russian icons as teaching models for the students I was teaching to paint when I was Artist-in-Residence at Thomas More College of Liberal Arts in New Hampshire.

                          

I noticed that when we studied images from this period the students engaged with them much more readily - they like them more than Eastern icons and seemed to understand more instinctively what they were painting. As a result some quickly developed a feel for what they could change without straying outside the style they were working in. In contrast, most who had not seen it before found the style of the Eastern icons slightly alien, and in class they had no instinctive sense of what they could change while remaining within the traditions. This meant that we had to copy rigidly for fear of introducing error. It was a bit like learning words from a language by rote without understanding the meaning of what you are saying. This is not always such a bad thing - copying with understanding is an essential part of learning art, but at some point the students must apply his understanding in new ways. This latter point seemed to be reached more quickly by these Roman Catholic students when working in the gothic style. Perhaps if I had been teaching a class of students who had grown up in the Melkite liturgy, the story might have been different!

I refer to this period as the School of St Albans because the most famous artist of this period in England is a monk called Matthew Parris who was based at St Alban's Abbey in England. There is a self portrait below with more works by him after that. The scenes below the portrait are from the life of St Thomas Becket and St Edward the Confessor:

So if we decide that this has the right style and balance of absraction and naturalism for today's Church, how do we re-establish this as a tradition?

In answer to this, I look to the work done in restablishing the iconographic tradition in the Russian and Greek churches in the 20th century. This was done by a little group of Russian ex-patriots living in France - Vladimir Lossky, Paul Evdokimov, Leonid Ouspensky, Gregory Kroug. A Greek icon painter called Photis Kontoglou who had contact with them and took their ideas to the Greek Orthodox Church. In the middle of the 20th century these figure developed and applied a theology of the form of icons by which they established a set of principles that define the iconographic tradition. Lossky, Evdokimov, Ouspensky and to certain extent Kontoglou were theorists; Ouspensky and Kontoglou were also practitioners. Kroug was an icon painter who to my knowledge did not write extensively about icons but he, along with Ouspensky and Kontoglou painted wonderful icons. The icon below is Ouspenky's St Seraphim.

In the mid-20th century, there were no detailed writings about art by the Church Fathers that they could draw on to define the stylistic elements in the way that was necessary to guide artists. They analysed icons that they judged to be good and holy, and developed a theology of form that seemed consistent with what they were looking at. This developed the principles that artists needed in order to create new works consistent with the tradition. The principles of this newly established iconographic tradition tell us not so much what artists did in the past, but rather what artists ought to do in the future in order to produce work that bears the mark of the holy icon.

The test of the validity of this is not historical accuracy of the principles as proposed, but rather the quality of the work produced by the artists who follow them, and the resilience of the tradition they established - can it outlast the generation that created it? We simply don’t know for certain if the formulae that Ouspensky, Lossky and Evdokimov developed correspond precisely to what Rublev, for example, would have been aiming for hundreds of years ago.

I feel that iconography has passed the test. We are now several generations of teachers and students past Ouspensky. The very best of today’s icon painters are producing icons in this style that stand alongside the great works of the past. and moreover, they are engaging with modern people in the place where they are meant to, in the context of the liturgy.

The analysis of these 20th century Russian ex-pats may very well have little credibility in the art history departments of our secular universities, where, I am guessing, it would be dismissed as purely personal speculation. But that doesn’t prevent what they proposed from being good and valid, given the end that they had in mind, namely, the creation of beautiful art that is in harmony with the liturgy.

Furthermore, while the icons that these figures painted were clearly connected to ancient icons, they also incorportated discerningly the forms of 20th century art. If you look for example at the icons of Gregory Krug, I suggest that his style has the marks of someone who has seen 20th century secular art - it is a personal observation, but I see elements of the cubism of Braques in Kroug's style. I don't know if this was done deliberately - quite possibly not, it might have come out naturally as Kroug made use of the images stored in his memory as he employed his imagination to create the idea of the icon he was going to paint in his mind.

So how do we do the same for the gothic School of St Albans?

I think the answer is to copy and seek to understand, so that we can articulate a set of principles that define the tradition as a guide to future artists. Here are the common features that strike me:

• A strong emphasis on line-drawing. The description of form is not through modelling with graded colour and tone, but rather through simple flowing lines.
• The figures themselves are well observed and naturalistic, though still retaining a symbolic quality. The degree of naturalism is higher than most icongraphic styls.
• However the relationships between them are not defined by a natural perspective. They live, so to speak, in the middle distance and in the plane of the painting in the same way that iconographic figures do. This is something that artists can control quite easily once they understand how to do it.
• Simple colouration - often with light washes and with the ground/foundation visible in parts.
• The inclusion of geometric patterns, especially in the borders.

I would use egg tempera, mosaic or fresco as media as they are suited to the 'flatness' of this style. In the learning process the most convenient medium to use is egg tempera. It is cheap and clean and can be used in the sort of small space - on the kitchen table - that most people are likely to have available to them. I would work on high quality paper as readily as gessoed panels.

A large part of what will characterize the the new style will the drawing. The artists who excel at this will be expert draughtsmen who understand how line can describe form even when there is not tonal gradation in a drawing. I anticipate that a 21st century neo-gothic style would emerge naturally - the artist would naturally and unthinkingly be fusing the elements of his own artistic likes and dislikes, but as the main object of study participating also in the essential elements of the original gothic style. As result I would expect the 20th century School of St Albans to be similar to, but distinct from the 13th century gothic, and distinct also from the Victorian neo-gothic style.

At each stage as an artist, if I was taking on this style as my own, I would be asking myself (as directed by Pius XII in Mediator dei) what the original artist was trying to do, and should I do precisely what he did, or does the need of the Church today differ in a way that requires some modification? For example, I would think about the style of dress for the figures in each case - chainmail for a soldier is fine for a scene from the life of Thomas Becket, or even for a figure that symbolises to us today the idea of chivalry; but probably not for the soldiers present at the Passion. The iconographic tradition could help me in this respect. However accurate they really are historically, the style of dress used in iconography is carefully worked out to establish the idea in the the modern worshipper who looks at them that the figures portrayed are in a different time and place but is familiar to us in such as way that it reinforces what we know.

As regards the development of a theology of form, although these English illuminations come from the gothic period historically, I do not see anything in these works that contravenes the iconographic prototype of the Romanesque. They are really a more naturalized style of Romanesque art and the Romanesque conforms to the iconographic prototype. Therefore, I think that we could adopt the essential principles of iconography, as developed by these mid 20th century pioneers, but apply them in a particularly Roman Rite way.

Alternatively, some may wish to push the envelope slightly and move into a genuine gothic style (for example allowing figures in profile). I have discussed this at some length these distinction in my book, the Way of Beauty.

If you want to see examples of art in this style, go to Google Images and look for examples from the following books: Queen Mary Apocalypse, English Apocalypse, Westminster Psalter, Winchester Psalter, Douce Apocalypse, and the Psalter of Henry of Bloise.

So that's it - I encourage you to go ahead and be radical traditionalist in the authentic spirit of the Second Vatican Council. This is precisely what Caravaggio was in his day, following the Council of Trent when he formed the baroque style that did so much for the Catholic counter-Reformation. We need artists who are post-Vat-II tradicals who can do something similar today. 

If you feel you need some help in getting going, as part of our painting program, I plan to create and introductory online painting course for Pontifex University that will be available in the Spring. In it I will set out these principles and demonstrate how to make a start in egg tempera.

Pilgrimage to the Holy Land for Pontifex University Students, June 22nd – July 4th, 2017

Earn 3-studio credits towards your Masters in Sacred Arts. A pilgrimage to the Holy Land, assisted by priests of the Melkite Church, will be offered in conjunction with the Institute of Catholic Culture. Pontifex University is offering 3 studio credits at Masters level to all those who attend this pilgrimage and submit a paper. Fr. Sebastian Carnazzo, who teaches three theology courses for the Pontifex University Masters in Sacred Arts is among the primary instructors (he teaches alongside his brother, the Institute of Catholic Culture's Fr Hezekias Carnazzo!). We will visit many of scripture's most significant places including: the Mount of Olives, Nazareth, Bethlehem, Jerusalem, and the Jordan River. Seeing and worshiping in these places associated with the prophets, the Apostles, Our Lady and Christ himself will bring the lessons of scripture and the sacraments to life in a profound way. Additionally, this pilgrimage is intended to be an immersion into the liturgy, culture, images, music and architecture of the Holy Land mediated by the local Melkite Church.

The Melkite Rite, which has its origins in the Middle East, is one of the Byzantine rites of the Catholic Church. The traditions of the Melkite Church reach back to Apostolic times, and bear eloquent witness to the harmonious interplay between Catholic liturgy and the culture of the region in which that liturgy developed.

Those who wish to transform the culture of the West would do well to learn from this relationship between the liturgy and sacred images and in turn with the broader culture. For more information on the Pilgrimage to the Holy Land view the Brochure here: icc-holy-land-2017-revised-brochure. If you are interested in the Pilgrimage to the Holy Land, download and fill out the registration form here: icc-holy-land-pilgrimage-2017-registration-form-1

The painting above is of Nazareth in the 19th century by David Roberts

Vocations Weekend for Men, 18-40 at Massachussetts Benedictine Monastery

November 4-6, Petersham, Mass.  I have just been sent information about this 'vocations weekend' for men. The monastery chants the liturgy in Latin - seven Offices a day and daily Mass.  It is a daughter house of a wonderful monastery in northern Scotland, Pluscarden, where I have stayed many times.

Podcast at Catholic Exchange on the New Masters in Sacred Arts

I was interviewed recently by Catholic Exchange's Michael Lichens for their weekly podcast, here is the connection for any who are interested. http://catholicexchange.com/teaching-way-beauty-david-clayton

Series of Weekly Workshops in Berkeley to Help You Discern Your Personal Vocation

Some of you will have read in the past of my account of the guidance I was given to discern my personal vocation and how this enabled me to change direction in life completely and become and artist. You can read about it here. This is a program of prayer, spiritual exercises and concrete action. Now we are offering this in a series of weekly workshops that take place at 7pm at St Jerome Catholic Church, El Cerrito, CA (near Berkeley, CA). We start this coming Wednesday, September 21st and they are free. We are in the back room of the church hall. The entrance in the back. The workshops are called The Vision For You. We have an even Facebook page here.

I gave a talk at the Insitute of Catholic Culture this past week in which I described the effect that this process of discernement, which I did nearly 30 years ago now, had on my life.

The link to the talk on the ICC website is here

https://instituteofcatholicculture.org/talk/living-christ/

The Masters in Sacred Arts; A Unique Program from Pontifex University

Pontifex University offers a unique formation for creative artists in any discipline, for patrons of the arts and for those interested in evangelizing the culture. To read about in on our website and to enrol, go to www.Pontifex.University to read about Pontifex. Go to the Academics section and read about the page is here.

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Thid unique program is for all who wish to contribute to the new epiphany of beauty!

Pontifex University offers a unique approach to higher Catholic education by forming students in the way of beauty so they might renew traditional Catholic culture.  Expert faculty including highly respected Catholic artists teach courses online.  Regional workshops are planned around the US, Italy and Holy Land, which include special access to the Vatican museum and the restoration workshops as well as an optional graduation Mass in the Vatican.

The Masters of Sacred Arts (MSA) degree is a groundbreaking combination of theory and practice.   In addition to the study of theology, philosophy, architecture, film, music and art, students have the option of submitting a capstone which is mentored hands on studio work in drawing, iconography, painting and sculpture.  This two-year program is perfect for artists, architects, priests, seminarians, religious, educators, laity, patrons of the arts and anyone looking to create beauty as a sign of hope in today’s world.

The student is not bound to the whole Masters program. He or she can choose to take individual classes or clusters of classes in our certificate and diploma structure;

• The Certificate in Biblical Studies

• The Certificate in Philosophical Studies

• The Certificate in Liturgy and Culture

Once achieving a pass in the three certificates entitles the student to a Diploma in Sacred Arts. At this point the student can enrol for Capstone project, which is practical or written. On completion of the Capstone, the student is awarded the Master of Sacred Arts degree.

Pontifex programs are established on the premise that in all genuine Catholic education, the ultimate Educator is God Himself.  As Pius XI stated, the aim of a Christian education is ‘to form the supernatural man who thinks, judges and acts constantly and consistently in accordance with right reason illumined by the supernatural light.’ The goal of Pontifex is to guide students along the path, the Way of Beauty, which leads to the supernatural transformation in Christ, so equipping one to serve Him.

The launching of the MSA program at Pontifex is the culmination of 20 years’ of my own research which began when as a recent convert, I decided to become an artist and couldn’t find anywhere to give me the training I wanted. I had to work it all out for myself. The result of this research became the subject of a book, the Way of Beauty published in 2015 by Angelico Press. I am thrilled now to see this being offered to the next generation which, who knows, might contain a latter-day Van Eyck or Velzaquez!’

The MSA offers the same formation that enabled the great Catholic artists of the past to create works of radiant beauty that are at once noble, elevating and accessible to the many, drawing all to God.  Pontifex prepares students to pass the test laid down for artists by Pope Benedict XVI: “It is precisely the test of true creativity that the artist steps out of the esoteric circle and knows how to form his or her intuition in such a way that the others—the many—may perceive what the artist has perceived.”

Pontifex University’s MSA is the new catalyst that shows how to bring these elements together in harmony with one’s personal vocation, whatever it may be, for the glory of God and joy of mankind.

To enrol and sign up for the first class go to www.Pontifex.University

Pontifex University is an authentic Roman Catholic institution formed in 2015 and overseen by a self-perpetuating Board of Trustees that governs the Solidarity Association of the Christian Faithful, a public juridical body established by decree.

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Do We Need A New Christian Symbolism in Art - Aren't Pelicans and Peacocks Redundant?

Should we resurrect the old Christian symbolism? Or are pelicans and peacocks just nonesense, like cabbages and kings.  

Is there a danger that trying to reestablish traditional Christian symbols in art would sow confusion rather that clarity? Lots of talks and articles about traditional Christian art I see discuss the symbolism of the iconographic content; for example, the meaning of the acacia bush (the immortality of the soul) or the peacock (again, immortality). This is useful if we have a printed (or perhaps for a few of you an original) Old Master in church or a prayer corner as it will enhance our prayer life when contemplating the image. But is this something that we ought to be aiming to reinstate the same symbolism in what we produce today? Should we seek to educate artists to include this symbolic language in their art? If symbols are meant to communicate and clarify, they should be readily understood by those who see them. This might have been the case when they were introduced – very likely they reflected aspects of the culture at the time – and afterwards when the tradition was still living and so knowledge of this was handed on. But for most it isn’t true now. How many would recognize the characteristics of an acacia bush, never mind what it symbolizes? If you ask someone today who has not been educated in traditional Christian symbolism in art what the peacock means, my guess is that they are more likely to suggest pride, referring to the expression, ‘as proud as peacock’. So the use of the peacock would not clarify, in fact it would do worse than mystify, it might actually mislead. (The reason for the use of the peacock as a symbol of immortality, as I understand it, is the ancient belief that its flesh was incorruptible). So to reestablish this sign language would be a huge task. We would not only have to educate the artists, but also educate everyone for whom the art was intended to read the symbolism. If this is the case, why bother at all, it doesn’t seem to helping very much, and in the end it will always exclude those who are not part of the cognoscenti . This is exactly the opposite of what is desired: for the greater number, it would not draw them into contemplation of the Truth, but push them out. I think that the answer is that some symbols are worth persevering with, and some should be abandoned. First, it is part of our nature to ‘read’ invisible truths through what is visible. This does not only apply to painting. The whole of Creation is made by God as an outward ‘sign’ that points to something beyond itself to Him, the Creator. Blessed John Henry Newman put it in his sermon Nature and Supernature as follows: "The visible world is the instrument, yet the veil, of the world invisible – the veil, yet still partially the symbol and index; so that all that exists or happens visibly, conceals and yet suggests, and above all subserves, a system of persons, facts, and events beyond itself.” It is important to both to make use of this faculty that exists in us for just this purpose; and to develop it, increasing our instincts for reading the book of nature and in turn, our faith. However, coming back to the context of art again, some discernment should be used, I suggest. I would not be in favour of creating an arbitrarily self-consistent symbolism. The symbol must be rooted in truth. The symbolism in the iconographic tradition is very good at following this principle. This is best illustrated by considering the example of the halo. This is very well known as the symbol of sanctity in sacred art. There are very good reasons for this. The golden disc is a stylized representation of a glow of uncreated, divine light, shining out of the person. Even if this were not already a widely known symbol, it would be worth educating people about the meaning of it, because in doing so something more is revealed. When however, the representation of a halo develops into a disc floating above the head of the saint, as in Cosme Tura’s St Jerome, or even a hoop, as in Annibale Caracci’s Dead Christ Mourned, (both shown) then it seems to me that the symbol has become detached from its root. Neither could be seen as a representation of uncreated light. These latter two forms, therefore, should be discouraged.

Similarly, those symbols that are rooted in the gospels or in the actual lives of the saints should be encouraged and the effort should be made, I think, to preserve or, if necessary, reestablish them. The tongs and coal of the prophet Isaias relate to the biblical accounts of his life. The inclusion of these, will generate a healthy curiosity in those who don’t know it, and so might direct them to investigate scripture. The picture shown, is one of my own icons.

In contrast consider the peacock and the pelican. The peacock, as already mentioned, does not, we now know, have incorruptible flesh. The pelican is a symbol of the Eucharist based upon the erroneous belief in former times that pelicans feed their young with their own flesh. My first though is that these symbols should not be used should not be used, because the reason for their symbolism in invalid, given that we no longer believe it to be true. However, I will admit that I am torn by the fact that both of these are beautiful and striking images, even if based in myth. Also, it might be argued, and this is particularly true for the pelican, that to use it is not resurrecting an obscure medieval symbol. It is an ancient symbol certainly - and St Thomas Aquinas's hymn to the Eucharist, Adore te devote called Christ the 'pelican of mercy'. But it lasted well beyond that. It was very widely understood even 50 years ago. Awareness of it is still common nowadays amongst those who are interested in liturgy and sacred art. Perhaps an argument could be made that even when the reason for the use of symbol is based in myth, if that is known and understood, and when that symbol recognition is still widespread enough to be considered part of the tradition, it should be retained. We should also remember that modern science is not infallible, and we moderns could be those who are mistaken about the pelican! My Googling research (admittedly even less reliable than modern science) revealed that the coat of arms of Cardinal George Pell has the image of the pelican. If this is so, I imagine he would have something to say about the issue also!

A baroque period (17th century) tabernacle door

The Solving of a Mystery in the Lindisfarne Gospels

Some time ago I wrote a piece about the St Matthew of the Lindisfarne Gospels. Here. The image is painted by Br Eadrith and was done in the 8th century.

At the time I was unsure as to who the figure peeping from behind the curtain might be:

Now, a year later a reader, Rev Dan Bodine wrote to me saying:

The most obvious candidate in my view is St. Luke. The gospels of Matthew and Luke share much of the same material. The painting would therefore accuse Luke as listening in on the Divine Word as Matthew receives it. (Who wouldn't)

So, mystery solved...unless anyone has any more suggestions...