Pope's 1st Portrait

The first official portrait of B16 is underway. The British Artist, Michael Noakes has been commissioned for the task and the Holy Father has already sat. It is reported that Noakes saw the Pope as a slightly shy man and tried to portray that. According to the Times, the painter is quoted as saying "he also smiles a great deal, but it's an oil painting and is going to be around as part of the records for a long time. So I made him look cheerful, with a degree of gravitas and a bit of a twinkle." The finished product is expected to be presented to the Holy Father at the end of April.

The acompaning image here is, of course, Cardinal Basil Hume. It was executed buy the same artist and can be somthing along the lines of what we can expect.

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Art at the service of the liturgy

The Post Eucharist Synod, Apostolic Exaltation of Pope Benedict XVI, ‘SACRAMENTUM CARITATIS’ has, as expected, been the talk of the town.

I thought I would focus on something different, some thing other than the use of Latin, Gregorian Chant and praise for former day. While not unrelated and a part of the general trend of things that have been and things to come, Sacred Art, like language, music and the former glories, has in many ways been the grater damaged. For it has not just been attacked in the minds and hearts, ears and practises of the faithful and the clergy. But it has been the victim of physical and often irreparable damage. The visual arts, including architecture, décor, vestments and sacred vassals as well as painting and sculpture is, like that of the Church’s music or the Latin language part of her glorious treasure (the dowry which she offers in tribute to the Eternal Bride Groom) but one once lost not that easily re-learnt or re-found.

Here follows an extract of some of the Holy Fathers words on the Subject.

41. The profound connection between beauty and the liturgy should make us attentive to every work of art placed at the service of the celebration. (122) Certainly an important element of sacred art is church architecture, (123) which should highlight the unity of the furnishings of the sanctuary, such as the altar, the crucifix, the tabernacle, the ambo and the celebrant's chair. Here it is important to remember that the purpose of sacred architecture is to offer the Church a fitting space for the celebration of the mysteries of faith, especially the Eucharist. (124) The very nature of a Christian church is defined by the liturgy, which is an assembly of the faithful (ecclesia) who are the living stones of the Church (cf. 1 Pet 2:5).

This same principle holds true for sacred art in general, especially painting and sculpture, where religious iconography should be directed to sacramental mystagogy. A solid knowledge of the history of sacred art can be advantageous for those responsible for commissioning artists and architects to create works of art for the liturgy. Consequently it is essential that the education of seminarians and priests include the study of art history, with special reference to sacred buildings and the corresponding liturgical norms. Everything related to the Eucharist should be marked by beauty. Special respect and care must also be given to the vestments, the furnishings and the sacred vessels, so that by their harmonious and orderly arrangement they will foster awe for the mystery of God, manifest the unity of the faith and strengthen devotion (125).

I know it’s not a lot, but the seed bed for important things.