Category Archives: Video

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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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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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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It’s Not A Question Of Validity, It’s About The Efficacy Of Grace

I have often heard the defence of the Novus Ordo Mass in terms of it’s being valid. As though all that needs to be settled is whether a Mass is valid and then all is good. Validity is truly important. Flee from invalid Masses. I believe the new Mass it is valid. The Church says it is and I am bound to accept it, and I do. I have very serious concerns related to its validity, which I wrote about here. However, this lecture by David Rodríguez gets closer to the heart of the matter of what, I suppose, I was really trying to say. For the real issue of the new Mass is not a question of validity, rather it is about the efficacy of grace.

[I have previously posted another amazing lecture by David Rodríguez, this time about the Mass and its relationship to the message of Fatima, here.]

Always, but perhaps more so now, we should be choosing those things which draw us closer to God, and which bring about the grace of God most fully into our lives. We must drive away sin, and root out evil, and cast off the world, and with passion and tenacity turn to Christ, bow before Him, and worship God with utmost reverence. If we fail to see the spiritual battle that surrounds us then we may find ourselves outside the refuge God has provided. And the winds blow strong across that wasteland. David Rodríguez argues that the refuge God has provided us is the Traditional Latin Mass. This does not mean the Novus Ordo cannot be celebrated with reverence, or that God’s grace cannot work through it (which it often does in individuals’ lives), but if one can have more or less grace available, why choose the lesser? Listen to this lecture and decide for yourself.

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Taking on the Sedevacants

david-bawden

Pope Michael and his mommy leading over a billion Catholics into a new and exciting future. (source)

I recently posted some videos on the topic of sedevacantism. Please know I am not a sedevacantist. Still, I do find this somewhat of an interesting topic, and for some it’s particularly timely because of a plethora of criticism of Pope Francis and the current state of the Church. I imagine the sedevacantists are having a field day with all of the scandals, and perhaps getting more inquiries than normal.

John Salza is an author who has taken on the sedevacantists. Here is a two-part interview he gave to Brother André Marie on that topic, which I think is pretty good.

Again, I know very little of sedevacantism, and I’m no canon lawyer, so a lot of this is over my head. My take is to generally dismiss the sedevacantists as crackpots, but I can’t entirely deny some of their concerns, and I assume many of them have some integrity. But I just can’t accept their position. Salza and Siscoe, co-authors of the book True or False Pope? Refuting Sedevacantism and Other Modern Errors, have been challenged by a number of sedevacantists. I have not really examined those challenges, but you can find them online. However, me sense is that those challenges are likely rather thin or outright silly.

The fact that Archbishop Lefebvre never gave into sedevacantism speaks volumes regarding the sedevacantists’ claims. Even when Lefebvre stood in strongest opposition to Rome, he always believed the Pope sat on his chair.

Lefebvre-Ordination-1977-b

Archbishop Lefebvre, papist (source)

 

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Fatima and the Filial Correction of Pope Francis

I continue to find examples of how one might connect the message of Our Lady of Fatima to our current day. Here is Fr. Michael Rodríguez, a very traditionalist priest, providing his understanding on this topic. As I have said before, I am in no position to truly judge what he says as being true or false.

But I must be honest and say that I believe what Fr. Rodríguez says makes a great deal of sense to me.

Also, I’ve said this before, but I find it somewhat funny and predictable that the more ardent and conservative (or some might say bordering on “conspiracy theory” vibe) the message the more the aesthetics look forced and unintentionally humorous. Do we really need the smoke/clouds blowing behind him? Still, after a while one just forgets all that and tunes in to what he says. Who am I to judge anyway?

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