Modernism and the Church

modernism octopus

Fundamentalist cartoon: “The Octopus”, by E. J. Pace.

Postmodernism has been a common term for at least three decades. Because of that fact the term modernism may seem to refer to a thing of the past. Modernism has also been used to describe certain concrete developments in the history of art, architecture, literature, and other areas of human creativity. Thus we can speak of modernism in architecture with specific start and end dates, preceded by pre-modern architecture and followed by postmodern architecture. But in the area of ideas it is different, especially in relation to theology and Church history.

Modernism began before the industrial revolution, really earlier with the Protestant Reformers and the embracing of nominalism, and it continues today. In fact, it is so pervasive that one can fairly say modernism is the defacto set of beliefs held by most people, including most Christians. Sadly, I am a modernist in many ways, not because I want to be so, but because it is the ocean in which I swim and its tenets and presuppositions have become second nature to me. In fact, I don’t really see them, and when they are made evident to me I am often surprised. Thus, I have been digging into modernism with the purpose of eradicating it from my life and faith.

I also believe it can be argued that, for the most part, when we look at the Church today what we see is largely a modernist institution rather than a truly Catholic one. Whether that argument can be adequately countered I do not know, but I do think Catholics are very often unaware of modernism and its effects, and thus, because of modernism’s allure and its malleable nature, we are inclined to accept its ideas into their understanding of the faith. In short, modernism appeals to the natural “bent” of human nature, and is thus appealing to all of us if we are not on our guard.

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Fundamentalist cartoon: “The Descent of the Modernists”, by E. J. Pace, first appearing in his book Christian Cartoons, published in 1922.

Below are some excellent lectures and discussions on the topic of modernism. Each covers much of the same territory and terms, but each is also different and together they help form a complete picture. For those who love the Traditional Latin Mass, the first video is especially excellent.

Although understanding modernism, including where it came from, what it is, and how it has affected the Church, is an important task, Catholics are then faced with the question of what to do now? How does one combat the leaven of modernism within the Church?

Question: If modernism, the synthesis of all heresies, was significantly at play during Vatican II, and if it clearly influenced the formation of the Novus Ordo Mass, and if the so-called spirit of Vatican II is better called the spirit of modernism dressed in Catholic garb, and if the papacy of Pope Francis seems to be a thoroughly modernist papacy, then what are orthodox Catholics to do?

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Church of the St. Louis Abbey: Modernist Icon of Sacred Architecture

Church of St Louis Abbey Elevation

Here is a video on the design process and construction of the famous (or infamous) St. Louis Abbey Church.

Is this a good church? Does it properly serve the purpose of a church? Many would say no. In fact this church is frequently presented by traditionalists as a prime example of terrible church design. Why?

Michael Rose had some thoughts on this topic. The basics are presented here. In short, the idea is that there is no journey towards God, from the profane to the sacred, in a round church design. It is, rather, made for a celebration of community and not the Eucharist. Though perhaps providing excellent acoustics for singing prayers, it is arguably not designed for proper worship in terms of offering sacrifice by a priest to God on behalf of the Church. Of course, in our Novus Ordo world which is focused more on the “people of God” in communion with each other more so than on the Bride of Christ worshiping God, many would argue with this argument. A round church, one supposes, serves better the idea that the faithful are gathered around a table for a meal.

Also, the church was completed in 1962, before the council had done anything, and long before the Novus Ordo Mass was promulgated. These architectural ideas had been around for some time before the council.

Perhaps what I found most telling in the video linked above is the moment when Fr. Timothy says, “neither the architect nor we knew what we were doing.” I find this particularly emblematic of that era. It was a time when so many felt the strong need to throw off the past and create the future, but then discovered they didn’t know what to do. It made me think of this famous passage from G. K. Chesterton:

In the matter of reforming things, as distinct from deforming them, there is one plain and simple principle; a principle which will probably be called a paradox. There exists in such a case a certain institution or law; let us say, for the sake of simplicity, a fence or gate erected across a road. The more modern type of reformer goes gaily up to it and says, “I don’t see the use of this; let us clear it away.” To which the more intelligent type of reformer will do well to answer: “If you don’t see the use of it, I certainly won’t let you clear it away. Go away and think. Then, when you can come back and tell me that you do see the use of it, I may allow you to destroy it.

There’s nothing wrong with asking if the way we have always built churches is the best. There is nothing wrong with exploring other possibilities. But, at the end of the day, we always discover our experimentations come from someplace, and the more we are unclear in our own minds the more likely other forces, spiritual or otherwise, will rule the day, and us. My take, and this applies to the “spirit” of the council and all that means, is that a great deal was done, including a great deal of destruction and deformation, because people had grown tired of the old ways and of old things. And I believe they grew tired because they ceased to truly know what they meant and what they were for.

Nonetheless, I pose the question: Is this a good Catholic church? Is it a proper design for what a Catholic church is meant to be?

Church of St Louis Abbey interior

Below is a time capsule Mass celebration in the church made for television:

 

 

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Michael Davies Four-Part Lecture on Vatican II

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Michael Davies

Though not without his critics even among traditionalist Catholics, Michael Davies is one of the giants of the traditionalist movement. He was both prolific and masterful in conveying the key issues at stake for the Church in the 20th century and up to our own day. He brought a tireless passion to his studies on what many have described as the debacle of the Second Vatican Council and the promulgation of the Novus Ordo Mass. He was a tireless crusader for traditional orthodoxy and right worship. He also brought a “punchy” straightforwardness to his delivery that I find refreshing in a Church that so often talks in loquacious circles and cautious euphemisms. He passed away in 2004.

Here is an excellent four-part lecture series by Davies on the machinations and troubling influences that were at play during the council:

I realize that the council was such a behemoth undertaking, and so complex, that any one perspective, even one as in-depth as Davies’ is, is bound to miss a lot. Regardless, if much of what Davies says is true, and I have no reason to doubt the content of any of his lectures, then what a profoundly troubling council.

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Praying in a Modernist Space

Are modernist buildings good places to pray?

abbey church interior

source and overview

I may be somewhat of an anomaly. On the one hand I am an advocate of Traditional Catholicism, including Traditional Catholic architecture designed to serve Traditional Catholic worship. (If you search through this blog you will know this.) On the other hand I love much of modern architecture. I love many buildings that many others do not like. I grew up in a modernist house, I studied modern art and architecture in college, and I have been a fan of early twentieth century and mid-century modern art and design. With this in mind, I found this lecture about one of the more famous (infamous?) modernist churches to be quite fascinating, not only for its informative content, but also because the lecturer gives a highly (almost ecstatically) positive perspective on exactly the kind of church design many would deride without hesitation.

Abbey Church SJU_Inaguration__020

source and more images

This lecture below is by monk, educator, and artist David Paul Lange, OSB. Whether you agree with his assessments or not, this is an excellent overview of modernist principles in architecture, especially at the mid-twentieth century point, and why it made sense to people at that time to build a church according to those principles. It is also an excellent “unpacking” of the design, and the ideas behind the design, of a particular church, the Saint John’s Abbey Church:

I find Brother David Paul Lange’s speaking style to be a bit too breathless for my tastes, but he is a great evangelist for the modernist perspective in architecture, and for this church. But I have some questions:

  1. Is his understanding correct about both modernist architecture and his interpretation of this church? I think absolutely.
  2. Is this church a good representation of modernist architecture? Yes.
  3. Is this church worthy of praise? As an example of modernist thinking, yes. As an example of excellent construction, yes. As a place for worship, you tell me, but I think no, at least not within a proper understanding of ideal Catholic worship.
  4. Therefore, does this church represent a different ideal of worship than traditional Catholic worship, I think so. But you tell me.

Notice a few things:

  1. He speaks of praying more than worshiping. This makes sense given this church is for a monastic community which is focused a great deal on prayer, but it is also significant. The focus is more about the nature and needs of praying than offering a sacrifice to God. Praying in a church is a good and normal thing. However, prayer is a part of worship, but not the only part. Many spaces can be prayerful. Only specific kinds of spaces serve the needs of worship.
  2. He speaks a lot of his own feelings. In a sense this entire talk is an explanation of his personal experiences of this church, and his feelings during and about those experiences. There’s nothing wrong with that up to a point, but as a Catholic would it not be better to also foreground the Body of Christ as a corporate entity a bit more? In that sense he would then speak more of the nature of man in general and his relationship with God. And then tie it back to this church and how it functions.
  3. This is more about a “modernist space” than a church (hence the title of the lecture), even though it is a church where the Eucharist is celebrated. He points out the way the outside comes into the church interior, reminding those inside of the connection with nature, what time of day it is, what weather is outside, etc. In this sense I gather the space functions a bit like stepping into a forest and praying. I like this in a sense, but when I think of celebrating Mass I wonder about the idea of Heaven on earth and the traditional way churches close off the outside world and creating a space that is more heavenly than earthly.
  4. He speaks of the honest use of materials, and how older churches seem dishonest somehow, using paint to create false impressions and faux marble, etc. This is a particularly important part of the lecture. I too love the modernist focus on materials. I also don’t believe such focus is necessarily bad for church design, but a church interior should be (traditionally speaking) a kind of three-dimensional icon of Heaven. Rough, earthy materials that evoke nature have their place, but they should serve a heavenly image, no? Here’s something I might explore in another post, but consider this: Is not a statue of St. Michael (for example) fake because it is not actually St. Michael? Same for the Holy Mother, etc? Would not any church that aspires to create a sense of the heavenly liturgy within its walls be a dishonest use of materials? Maybe. But perhaps that’s a “dishonest” use of the word dishonest.
  5. The bell tower, he argues, with its horizontal lines, points to (or mirrors) the horizontal earth rather than to God. He claims it reminds him that God is everywhere and in all things, and perhaps that’s a good reminder, but this is a curious claim and raises the question, in my mind at least, what is the purpose of a church? To call us to the earth or to call us to Heaven? Do we not minister to each other (horizontally) because we have first sought out and worshiped God–a vertical action? If we do not begin with the vertical does not our horizontal orientation eventually become skewed?
  6. He also mentions that the population of monks used to be 350, but now are only 150. They don’t need such a big church anymore. Only by way of correlation, but still interesting (and troubling): They commit themselves to modernist ideas, they build a modernist church to symbolically represent that modernist spirit, and not long after they lose 60% of their members. Apparently modernism doesn’t need monks. Perhaps modernism doesn’t really need man either.
  7. At the end of the lecture, just before questions, he jokingly apologizes for going a bit long and keeping the Downton Abbey fans from their show — a show whose popularity arose from a longing for an earlier time, represented, in part, not by modernist architecture, but very traditional architecture, and clothing, and customs, etc. Will future generations swoon over the modernist mid-twentieth century in the same way? Perhaps Mad Men did some of that, but that is an awfully dark show.
  8. The first question at the end, by another monk (I believe), is exactly my question, and worth the time for watching this lecture. I have never been in this church, so I have no way of saying what my thoughts would be, but I also wonder if such a place is naturally conducive to prayer, or liturgy at all for that matter. And I truly get the experience from having studied art and swooning over art that others think is stupid or meaningless. And I also find the questioner’s reference to the new cathedral in Los Angeles being obvious a place of prayer puzzling, since it also has been roundly derided for its modernist and non-Catholic design. The answer to his question included: “Do people get modernism? I think the answer is no, by and large,” and “Until I explain this…” In other words, modernist art and architecture requires explanation in order to appreciate it. This is one of the attractions and weaknesses of modern art. I have experienced exactly that feeling of “getting it” after studying it. And yet, I think this may be why modernist architecture is not a good choice for Catholic churches. He also says we are not actually living in a “modernist” society. In terms of art and architecture this may be true specifically in light of design principles–modernism, from an art historical perspective occured at a time in history which is now past. However, the spirit of modernism as a philosophical and theological undergirding of society and the Church is still very pervasive. How modernism in ideas and modernism in design interrelate is a fascinating topic too big for this post.

In the end I find the Abbey Church a beautiful and amazing space. However, I do believe it is probably best suited as a performance space than as a church. I would not advocate a church being built along these lines. Rather, I think we should be informed more by the needs of the Traditional Latin Mass with its focus on God rather than man, uniformity with the Church through history, and creative use of new and old materials that look to the past for inspiration and the future for permanence and authentic timelessness — which can only be done by beginning with a true understand of both God and man.

Finally, I wonder if much of the problems with using modernist design principles and materials for Catholic churches could be solved if the liturgy was the Traditional Latin Mass. In other words, imagine if Vatican II never happened, and the Novus Ordo Mass never promulgated, could churches have been designed in somewhat contemporary and modernist fashion and still fulfill the needs of the TLM? Can architects build “honest” churches and still be Catholic? I think so. But also keep in mind that the St. John’s Abbey church construction began on May 19, 1958, and lasted until August 24, 1961 — well before the council even began, and long before the Novus Ordo Mass was promulgated.

If you want to know a bit more about the architect Marcel Breuer:

If you want to know a bit more about the building of the church:

 

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Catholic Cultus / Catholic Culture: Thoughts on Building a Catholic Church

I think it is fair to say that I read my way into traditional orthodox Catholicism but then, to my surprise and chagrin, I ended up somewhat disappointed in modernist Catholicism. How can this be you ask? I am a convert to the Catholic Church. I came from a very non-Catholic “version” of Christianity (anti-Catholic really), and I felt nervous going to Mass on my own (and I knew no Catholics at all to hold my hand and guide me). So I didn’t go the Mass. Rather, over a period of several years I read my way closer and closer to entering the Church. I read books, blogs, and articles. I also listened to podcasts and interviews. Again and again the theological answers given to my questions made sense. I also heard many attractive things about the Church.

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Tradition is not a fad (source)

I heard of the magnificent history or the Church, and of the glories of Catholic art and architecture. I knew something about that already because I had been an art history major in college, and in those courses I studied some of the great paintings and cathedrals of Europe. I heard of the glories of Catholic music. I heard of the Church’s amazing intellectual history. I read more amazing histories of the Church, its battles, its saints, its universities and how it created what we today call science and modern medicine, and I was amazed at all that it has done in the world.

I also studied its theology, comparing it to the Protestant theology in which I was raised. I grew to love the doctrine of the Real Presence. I learned about the sacraments, the role of priests, the value of Tradition, and more. Again and again I was overwhelmed at the riches that had been kept from me by my ignorant Protestant culture, and at just how ignorant I myself had been. I came to see the Catholic Church had better answers to my questions, and a better grasp of Scripture. I also came to see that the Catholic view of man corresponded to both scripture and my experience than what had previously been articulated to me. I began to shift towards a sacramental view of reality. I began to long deeply for the Eucharist. A song was singing to my soul, calling me to the Church. I knew the Church was the home I longed for.

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Mont Saint Michel. We still look at this with awe. And rightly so.

In my mind had growing visions of cathedrals and richly decorated churches. In my mind I heard chant and I smelled incense. I saw old manuscripts and ornate vestments. I sensed history, depth, and a profound connectedness to a cloud of witnesses. This was not a longing for merely a different style or for some medieval live action role playing experience. I longed for an antidote to the ravages of modernity and the false, modernist view of man. And the Church seemed to offer just that. Noted apologists for the Church would tell me to look at the riches of the Church, and I did.

high altar

Why can’t all churches have this kind of beauty? This is, I believe, a legitimate question and deserves a reasonable, thoughtful, and theologically sound answer.

But I also heard stories of clown Masses, and terrible music, including playing bongos in Church. I heard about the indifference and even anger of some Catholics towards their rich heritage. I heard about the focus of the new Mass being on the priest rather than on Christ. I did not really know what “new Mass” meant, but I thought it couldn’t possibly be so bad. I read that some Catholics didn’t like to hold hands during the Our Father, or didn’t like to receive the Eucharist in their hands while standing, or even refused to sing some of hymns because those hymns were terrible musically and, gasp, theologically bankrupt or even heretical. How could this be I thought? I didn’t know a thing.

All of this I heard about and I knew nothing of the debates about Vatican II. I knew nothing of the traditionalists and the radtrads. I knew nothing of Marian apparitions and her prophecies. I just didn’t know much at all. I really had just fallen off the turnip truck in front of the Catholic Church and thought this is the place.

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Kitsch in Wichita (source)

Then I started going to Mass. And there, at my first Mass, was literally a bongo player amongst the guitarists and bassist. And everyone held hands during the Our Father. Parishioners walked all the way across the nave to hug people during the Peace of Christ (sometimes it seemed this was the moment that brought them to Mass). And the music was terrible, terrible, terrible. And the neighborhood Novus Ordo church building was anything but beautiful and glorious. Everything was so ho-hum, so bourgeois and American, so suburban, so blah. And I knew it wasn’t just a question of money. Like when we see a person who decides to buy ugly clothing for the same price as beautiful clothing because they have bad taste, what I saw seemed a reflection of something wrong at the heart of the Church and culture.

And then I looked around some more. I came to realize that all those Catholic glories of art, architecture, music, and all that culture building of Christendom, and all the influence in the sciences and education, were essentially historical realities of past ages and no longer contemporary activities of the Church. The Church had become a poor shadow of its past.

And yet I still loved it. Once I came into the Church I fell even more in love with Catholicism. I love the Eucharist. I love the Real Presence. Sunday Mass is the highlight of my week. But it was still hard. Hard for me and hard to drag my family along to the sappy Mass in the ugly church with of lousy music. I sometimes felt embarrassed and self-conscious about having them with me and knowing I had been promoting the Catholic Church for several years and now abject mediocrity is what they were getting. (Eventually they all entered the Church as well, thanks be to God.)

So I fell back on two things. First, I still got the Eucharist. That, I have to say, has been my sustenance. Second, I thought a lot about a recommendation from J. R. R. Tolkien. I took solace in the reality that most of us live humdrum lives anyway, that Mass is about Christ and the Eucharist, that we shouldn’t get caught up too much in seeking some kind of perfectly celebrated Mass with dynamic homilies and gorgeous music, and that I just needed to do my best to trust in the Church. We also began attending a more conservative Catholic parish (with more traditionally minded priests) that, while still Novus Ordo, nonetheless sought greater reverence in worship — and has a much more traditionally beautiful building, one that is inescapably a church.

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I have also met a number of Catholics who have had similar experiences as I have, and are now working towards changing the Church by incrementally steering it back to the traditions of centuries past. This encourages me.

But, the truth remains: Modern (modernist) Catholic culture is radically devoid of almost all of its great riches and depth that, perhaps, were taken for granted in those past centuries. What greatness is still there is like a dwindling bank account of an inheritance assumed to be inexhaustible. But this modernist church’s art, its modernist church buildings, its modernist worship, even its prayers, are poor copies, and at times outright repudiations, of past riches. Modernist Catholicism does not create a true Catholic culture. In fact, it tends to create a somewhat bland culture that does not propagate itself very well. It is only by reaching into the past and bringing forward those riches that we have any at all with us today. This is why, I believe, Traditional Latin Mass parishes (SSPX, FSSP, especially those with no Novus Ordo option available) tend to create richer, more integrated and more complete local social cultures than the modern Novus Ordo parishes. Or so I’ve heard, I have yet to witness that first hand. But I wrote something about it here, based on what I saw in the video of a Traditional Latin Mass in Paris. And I’ve heard others say it is true. This is what I hope. Show me that I am wrong.

When I say integrated and complete I mean more than social programs and a “happening” Sunday evening “youth” Mass. I mean an alternative way of life that sees the family as the domestic church and the fundamental unit of society, the parish as an actual community made of and for believers, the Mass as the central activity of that community, and an unabashedly Catholic aesthetic permeating every aspect of the parishioners’ lives that is born out of a shared way of worshiping rooted in deeply orthodox Catholicism expressed in timeless praxis. I also mean a recognition that Catholicism and the world are inherently incompatible, and thus the culture of the parish must act in light of that truth, forming good Catholics, supporting the struggle of parishioners to be in the world but not of it, and creating meaningful alternatives to the allures and seductions of the secular society that pervades nearly every aspect of our lives.

But all too often we instead get namby pamby bishops talking psychobabble, “listening” rather than preaching the Truth with which they have been entrusted, swooning over an emotions-based modernist faith and the possibilities of a youth-led Church, and making the social-crisis-du-jour their primary concern. Far too often the hierarchy seems to live in a self-congratulatory bubble while showing almost no regard, let alone recognition, of the profound destruction the Church has experienced in the past 50 years.

awful vestments

Aesthetically nauseating vestments for the 2018 World Meeting of Families. If you want bishops to look like the silly gumdrops so many have chosen to be, have them wear these.

Perhaps I’m dreaming. But here’s a basic fact: Adults who come into the Church, whether from Protestantism or something else, are often looking for a way of living that is distinctly (historically, traditionally) Catholic, and instead they all too often find something rather thin and bland; aesthetically more like a half-hearted 1970’s experiment to which the person in charge hasn’t had the courage (or balls) to say “times up;” and which is often more an expression of a culturally bourgeoise Americanism (or western Europeanism) than authentic Catholicism. And what’s perhaps most disheartening is that so many Catholics don’t see this. But I think more are beginning to. I hope so. I pray every day we all see it more clearly.

Descent_of_the_Modernists,_E._J._Pace,_Christian_Cartoons,_1922

You’ve seen this image before. It seems so simple and obvious, but is it really? Modernism is more than a logical set of steps, it is now our culture, and culture is more powerful and slippery than we think. Modernism is the leaven of our age, and our Church.

The simple truth is we are going to have to create the culture we want, by God’s grace. It is going to take effort, and some hard choices, and tenacity. It’s going to be a battle just like it was for the early Church. We are going to have to root out modernist ideas and presuppositions. This will be harder than we think. In many way modernism is essentially invisible to us. And if we want a Catholic culture with depth and longevity and substance beyond our own whims, we are going to have to get at it with a vengeance. But also with joy. We must always keep before us that one does not start building a culture by trying to build a culture. Rather, we begin with what (or who) we love, and with how we worship. Culture is the product of cultus, and cultus is not merely a Sunday thing, not merely a TLM thing, although that’s huge for many reasons. It’s a totality that encompasses our whole life in one way or another. Let us then turn our hearts and minds towards God and worship Him as we ought. Let us pray in the manner of the historical and orthodox Church. Let’s live as Catholics are called to live.

So, let’s get to work. Consider this, and this, and this, and this, and this, and this, and this. And remember, the Traditional Latin Mass is not great so much because it is traditional, but because it is timeless. Maybe we should call it the Timeless Latin Mass. Also, I hear often of bishops not supporting the TLM, and even trying to shut it down in many parishes. But many bishops are vain and may succumb to increasing pressure if enough Catholics make enough noise. In my parish some parishioners organized a 40-hour adoration event and got good support in our community and from our priests. We also have a great bishop who gets it. There are many things to do other than strictly the TLM. Bit by bit, inch by inch we can take back the precious ground that had been tilled and planted in centuries past.

Of course it is God who creates the culture ultimately. We just do the best be can in fear and trembling, and He does the real work. We, the Church, are His handiwork, and He honors those who honor Him.

Saint Francis, pray for us that we might rebuild the Church.

Saint Francis

Saint Francis of Assisi by Frank Cadogan Cowper (1877-1958)

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Calling for a New Counter-Reformation in Sacred Art and Architecture

Christ Chapel drawing Duncan Stroik

Architectural illustration of Christ Chapel in Hillsdale, Michigan by architect Duncan G. Stroik (source)

In a similar way that the Counter-Reformation, as its name describes, countered the Reformation, the Church must again counter a new “reformation.” But this new reformation has really been more of an internal revolution of modernism that has cause enormous damage within the Church as well as outside. Many have felt strongly that some kind of rediscovery and return to the rich architectural traditions of the Church, much like the return to the Traditional Latin Mass, should play a major role in this new counter-reformation. I agree.

Duncan Stroik is a practicing architect and devout Catholic who specializes in church design. He has been on a crusade of sorts to bring back to the foreground the traditions of church design that were once taken for granted and then largely lost (but, of course, not really lost, for we still have many examples). He is a leading voice in the return to beautiful and properly designed churches “movement,” if that’s the right word for it. He is also an author and Professor of Architecture at the University of Notre Dame.

Here is a recent lecture he gave, along with numerous examples, on twelve points of this new counter-reformation. This was part of the Catholic Artists Society’s 2018 Art of the Beautiful lecture series at New York University’s Catholic Center:

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The Repairman of Bell Towers

From another time:

Here is the longer version.

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