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| Catholic Culture | ||||
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Fine Arts But we must look for those craftsmen who by the happy gift of nature
are capable of following the trail of true beauty and grace, that our
young men, dwelling as it were in a salubrious region, may receive
benefit from all things about them, whence the influence that emanates
from works of beauty may waft itself to eye or ear like a breeze that
brings from wholesome places health, and so from earliest childhood
insensibly guide them to likeness, to friendship, to harmony with beautiful
reason. Plato expressed a strong Greek belief that early education ought to consist primarily in training youth in the fine arts, the arts that present beauty and grace in works of imitation addressed to the senses. Exposure to beautiful works of music, poetry, painting, sculpture, architecture develops in souls a powerful instinctive taste for what is beautiful; the ugly and banal causes pain. Youthful love for the beautiful naturally leads to a desire to become beautiful through a virtuous life. As the mind awakens in adolescence, the predisposition toward what is beautiful will arouse wonder and delight in understanding, for fine art is akin to “beautiful reason.” Plato’s vision might not have taken into account man’s fallen nature, but it does hit on a natural truth: encouraging students to strive for moral goodness and noble understanding is hampered if their souls have tastes only for what is merely popular, fun, harsh, or ugly. Pope Benedict recently emphasized the apologetic power of the Church’s treasury of beautiful works: In the same way, if we contemplate the beautiful works of
art created by the faith, they represent, I would simply say, the
living proof of the faith. If I look at this beautiful
cathedral,
it is a living proclamation! It speaks to us, and starting from
the beauty of the cathedral we can visually proclaim God, Christ, and
all God’s
mysteries: here they have taken form, and they look at us. All
the great works of art, the cathedrals – the Gothic cathedrals
and the splendid Baroque churches – are a luminous sign of
God, and thus are truly a manifestation, an epiphany of God. Music is particularly important. No work of art reaches into the soul more powerfully than music, which forms tastes and passions. No other kind of art pervades our life the way that music does. “And is it not for this reason, Glaucon,” said I, “that
education in music is most sovereign, because more than anything else
rhythm and harmony find their way to the inmost soul and take strongest
hold upon it, bringing with them and imparting grace, if one is rightly
trained, and otherwise the contrary?” Men and women whose soul can be thrilled by Palestrina, Bach and Mozart have an experience of divine beauty lost to the majority of our fellow citizens. Listening to all these works – the Passion of Bach, his Mass
in B Minor, and the great spiritual compositions of the polyphony of
the 16th century, the Viennese school, all the great music even of
minor composers – suddenly we feel: ‘It’s
true!’ Where things such as these works are
born, there’s the truth. Without an intuition about the true
creative center of the world, such beauty cannot be born. Catholic schools should devote a good deal of their time and attention to the beautiful. Students should be immersed beautiful music, poetry and art, especially those inspired by the faith. Formal classes in listening to great music and studying great paintings play an important, though not exclusive, role. Teachers should first aim to have students learn to enjoy great art, then to distinguish among different styles and artists, and even learn some of the compositional techniques employed. Other avenues for experience the beautiful are as important. Mandatory choir in which students learn to sing chant, polyphony and traditional harmonic hymns should be the norm. Textbooks that have beautiful, inspiring images should be preferred to those with banal, busy, flashy, substanceless pictures. The school should be adorned with beautiful works of art. Above all, the celebration of the Mass must be an experience of divine beauty. If Catholic schools are to be true to their
identity, they should try to suffuse their environment with this delight
in the sacramental. Therefore they should express physically and visibly
the external signs of Catholic culture through images, signs, symbols,
icons and other objects of traditional devotion. A chapel, classroom crucifixes
and statues, signage, celebrations and other sacramental reminders of Catholic
ecclesial life, including good art which is not explicitly religious in
its subject matter, should be evident.
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