CATHOLIC ART AND FR. MARTINDALE

Need to Pool Knowledge
Stee—If ie not often one finds oneself in disagreement with Fr. Martindale, but stimulating and timely as are his remarks on Catholic Art in your issue of April 22, a propos the new publication Art Notes, he makes statements that call for comment and, one of them, for correction. This is his judgment of Constantinian art, meaning art produced by Christian architects and artiste during the reign of Constantine and in the period immediately following.
Modern research in Christian archaeology is rapidly proving that Constantine himself was a far less "muddled " Christian than some suppose and as to the art of his time there was in fact a brief renaissance, due to imperial munificence, and not a decadence: a glorious outburst of Christian monumental art setting forth the Glory of the Cross and the Triumph of Christ over death and over paganism.
Constantine did not inspire this art but his patronage and interest enabled the theological doctors of the Church of the early fourth century to do so. They it was (and they were far from being " muddled") who composed the scenes and who directed the artists and between them they decorated the new churches with amazing skill, having always two absolute ends in view: the glory of God and the instruction of the Faithful. The mosaics in the Lateran basilica, on the nave wails a Concordance of scenes from the Old Testament and the New, and in the apse a wonderful exposition of Baptism (still in great part existing) these alone, purely Constantinian works, disprove the accusation of decadence and they are but a small fraction of the Christian art of the period.
Sincere and direct as was the funereal art of the catacombs it was, of necessity, limited in scope and Constantiae's political peace was stimulus and opportunity combined. This can readily be proved. As for funereal art itself that also flourished and expanded. Take, for immediate example, the very sarcophagus quoted by Fr. Martindale as an example of "catacomb" art. It is Constantinian art, being made in the full fourth century and is, as it happens, one of special theological interest (Moses here having, in the two scenes in which he appears, the features of St. Peter for doctrinal reasons) of which there is only one instance in the frescoes of the catacombs and that belongs, as do all the sculptures with this peculiarity, to Constantinian, and post-Constentinian, times.
It is this chronological vagueness, so fruitful of error, that brings me to a point I would wish most urgently to make.
Like Fr. Martindale, I welcome with delight many of the new tendencies of Catholic art as illustrated in Modern Sacred Art and as exemplified in some of the exhibits in recent exhibitions of Religious Art, but good as these tendendes are (towards simplicity and sincerity) they will not flower as they should unless they grow from the soil of accuracy and of truth, historical as well as religious.
To come to their proper stature modern Catholic artists must keep close to Catholic tradition and be grounded in Party Christian and mediaeval art, both of the West and of Byzantium. This is not easy, in England. But it could be made possible. Even those who are fortunate enough to study or work in Rome itself may easily be lost, without help, in the magnitude of their opportunity. To give an instance: Why. in her painting of St. Fabian has Mies Joan Morris given the cruciform nimbus to a pope?
Miss Morris is not to be blamed for not being steeped in Early Christian or mediaeval art, for to come to such know-. ledge by the long path of personal investigation takes too long for the artist who needs to create his or her version of an ancient theme (and how can Catholic themes be anything else'?) but she personifies, by her very valour in her enterprise in editing Art Notes the Catholic need of " getting together " for mutual assistance: a pooling of talent and of study in the necessarily self-sacrificing endeavour to help forward the great objectives of modern Catholic art.
Perhaps a good way would be for Miss Morris to dedicate a part of her paper to discussion and to the asking and answering of questions. Or, at least, to inaugurate a correspondence column where these matters could be aired. For myself, who may be called a "catacomb " convert to the Faith and now fortunately possess good works of reference on Early Christian and Byzantine art (including Le Pitture (Ielle Calacombe Romane, by Wilpert, and I Sarcophagi Cristiani Antichi) I would gladly take a small part by answering enquiries as to chronology, clothing, gestures, etc., etc., in the art of the early centuries, if such a " bureau " could be brought into being.
W. L. G ore rore.
West Runton, Norfolk.
MASS ON CRUISE int.-1n their advertisements of seacruises, many shipping companiee state that there are facilities for the celebration of Holy Mass on board. It is, however, a very different matter to ascertain " for certain," as "Parochus" writes last week, whether or not there will be a priest on board.
For several years I have made inquiries of the various companies, prior to arranging a particular cruise, and though the companies appear to be willing to help, they frequently do not know if they have a priest among the passengers already booked. Are priests shy of announcing their high calling to the companies at the time of booking?
Cannot something be done by the clergy to help the Catholic " would-he cruiser in this matter? Having had experience of this very real difficulty I write on behalf of the many besides myself who like to be certain beforehand of Mass on board. One knows of Catholics who have " chanced it," and found four priests among the passengers! Can nothing he done for those who do nnt care to take such a risk?
Only the clergy can take a cruising holiday, and be certain " of having Holy Mass!
" 1C. Comeno"