Nathan

“Let us say plainly: the unredeemed state of the world consists precisely in the failure to understand the meaning of creation, in the failure to recognize truth; as a result, the rule of pragmatism is imposed, by which the strong arm of the powerful becomes the god of this world.”
― Pope Benedict XVI, Jesus of Nazareth, Part Two: Holy Week: From the Entrance into Jerusalem to the Resurrection

“Christ is, then, the perfect art work in the sense of that reality in whom is realised those goals that all artistic making has as its explicit or implicit ends. Because he is infinite meaning, life and being perfectly synthesised with finite form, the cave painters at Lascaux, or Hesiod penning his hymns, or Beethoven working on his last quartets, were all gesturing towards him though they realised it not.”
― Aidan Nichols O.P., Redeeming Beauty

“The eventual religious affiliation of Indian tribes depended not only on the success of missionaries in making first contact but on the compatibility of their social patterns with the types of Christianity from which they were able to choose. The Oblates were delighted with the response of the tractable Déné of the far northwest. Anglicans had greater success with the Tudukh, whom they found 'more lively and affectionate' although 'more superstitious' than the Déné. In British Columbia the Roman Catholics were able to plant missions among the interior Salish, who liked their ceremonies and readily accepted their disciplined approach to community life. From the warlike Kwakiutls, Haidas and Tsimshians of the coast they met only rebuffs, but it was among these tribes that the more emotional Methodists were able to establish themselves.”
― John Webster Grant, The Church in the Canadian Era

“There is however, one reason why the arts so rarely accept a mission that IS within the power of the Church to alter. In the past, the densest or richest location of baptised art has been the Liturgy. The sacred use of the arts in the liturgical setting has provided inspiration for artists engaged in producing artworks for contexts outside the Liturgy, for consumption beyond the limits of the visible Church. In the modern West, the Muses have largely fled the liturgical amphitheatre, which instead is given over to banal language, poor quality popular music, and, in new and re-designed churches, a nugatory or sometimes totally absent visual art. This deprives the wider Christian mission of the arts of essential nourishment. Where would the poetry of Paul Claudel be without the Latin Liturgy? Or John Tavener's music without the Orthodox Liturgy? Where would be the entire tradition of representational art in the West without the liturgical art of which until the seventeenth century at least remained at its heart? We need today to summon back the Muses to the sacred foyer of the Church, to be at home again at that hearth.”
― Aidan Nichols O.P., Redeeming Beauty: Soundings in Sacral Aesthetics