As Father Joshua Caswell said at the well-attended conference on Oct. 29, the mission of the Catholic Art Guild can be demonstrated with a story about St. John Cantius, for whom the church sponsoring the guild is named. One day, a servant girl dropped and broke a jug of water. She wept at the thought of being punished by her mistress. St. John, in compassion, picked up the pieces of the jug and, through prayer, not only restored the broken vessel to a seamless condition, but also turned the water to milk.
Visco quickly learned to create “relevant” art. He visited dumps and rearranged what he found there, for example. “I couldn’t do anything wrong” as far as the art world was concerned, he said. In fact, he was awarded a Fulbright for his work, which took him to Florence, Italy.
In Italy, Visco rediscovered the beauty of centuries-old sacred art and spent a year teaching himself to regain the skills he’d lost in art school. Since then, Visco has created sculptures, murals, and reliefs for sacred spaces. He also trains young artists and works to promote wider classical training in the sacred arts.
Church architecture today often follows the trends in secular society—those of modernism and postmodernism—rather than reflecting humanity’s highest aspirations, Stroik said. When congregations do follow traditional models of architecture, they don’t hire the best artists or use quality building materials, and the results are mediocre.
Stroik believes that by hiring leading artists of faith, using superlative materials, and providing classical training for artists in an academy of sacred arts, churches could reclaim their century-old purpose of expressing eternal truths in glorious form.
McNamara pointed out several of these symbols. The church itself is made of stones, just as each parishioner of the faith is a living stone, comprising the church body. The heavenly reality may be revealed in icons, their visual simplicity allowing one to “fast with the eyes” and contemplate exemplars of the ideal. Gems or gem-like colors, McNamara said, are the manifestation of a soul moving from basic ore to polished perfection. The artwork adorning the ceiling or behind the altar traditionally displays a heavenly vista to inspire worshipers to see themselves among the multitudes with God. Together, these make a church a church.
Knowledge derived from science, he said, claims that sacredness can be reduced to the need for our genes to be reproduced in our progeny. Faith builds community, and community ensures survival.
But “the world has a meaning which is greater than what is revealed to our ordinary scientific inquiry,” he said. The scientific way of seeing the world neither accounts for our everyday experiences nor for the sacred.
Beautiful, classical art naturally points to this subjective other, Scruton believes, and relies on this relational way of understanding the world, so utterly beyond the reach of science and yet so fundamental to us as humans.