The Record Newspaper 12 November 1987 by The Record

Registered by Australia Post Publication No. WAR 0202

A Kulin shrine incorpora ·ng a window of Our Lady of the Perpetual Succo r is the de ·gn of parish aco yte, Kevi Brown and his son, Geoff, who was in charge of the building project, See Father Brian Rosling's story, page 7.

Number 2557

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Melbourne Canon Lawyer rebuffs Canberra

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Also, All H 1low Col ege in June thi year, Bi hop Mc eon and F her Fr n Fi zger Id of ere 0

The Canberra bureaucracy is using press re eases o oist o to the public changes tha are going to trivialise marriag . T is is the view of elcanon lawyer, cKenney on changes at magis rates will be allowed to resolve ce ain divorce app ica ions.

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A news release by ..---------------... the A omey General, Mr ow n, on March 25 outlined steps to reduce t e wor loa of Family Court ju ges and another news rel ase on June 12 said registrars and magistrates wo Id be able to eal with undefen ed divorces and property disputes. 'The immediate [ection to this proposed egislation is that it provid s a furth r v nture to trivialise the institution of marri e, in line with the a intment of civil marriage celebrants, the introduction of no fault divorce and the air dy informal nature of divorce proceedings, •• says Father c enn y. Father cKenney is critical of them thocf the overnm nt ·s using to siqnal it int ntions in this ar a.

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At the annual St Charles' Day gathering at the Guildford _ Vocational ResiE dence three pr' ests � ere feted for heir years of �25 E priesthood.

§ § Father Tim Foster

=(left) was a an offcer fore study·ng at Guildford and A elaide seminaries before ordi ation in St Mary's Cathedral o June 30, 1 2. He

has s ubsetly served at rville, Osborne Pa , Northam, Applecross, WAIT, Kensington, Frem n le, o dini , S ark's an San a aria Colle es and most

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recently Attadale. Father aurence Murphy is originally from Dub in and was ordained in 1962 at the the Salvatorian hea house at Christleton Hall, Chester, England. Coming to Australia in 19 6 he served at Bellevue and was instrumental i the transfer of the parish to · s G reenmount

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site. e is currently chaplain at Sacred Heart College, Sorrento. Monsignor Michael Keating studied at

Guildford, completing his course at Propaganda College, Rome, where he was ordained on December 21, 1962,

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spending a further three years in Rome obtaining a degree in canon law. He has served at Cottesloe, West

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CHRl TIAN OPTIMISM

Christi ity is the most optimistic of II of the world's great religions. There is a great de I for us to cheer about. The Resurrection of our Lord Jesus Christ, the reunion of hum nity with the Cre tor, the mystery of the Incarnation, the Bless d Virgin Mary' const nt interce sion on our behalf, the glor·ous Trinity: These things de rve smiling Christian f. ces, not gloom nd negative religiou attitudes. t is a great pity that the doctrin of desolation gains uch way with a few Chri i s. Such p ople forget th t we pray with conti. nee to the F. her, in the words our S viour t ught us: Our F the, ... Thi is th Faith that is o confident that its found r tells us to c II our Creator, "Abbe," Father, in n intimat , loving nd personal way. What oth r r. ligion dares ncour. g God, Fath r?

No drugs, no devices ... healthy & effective.

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VATICA CITY: Cardinal Gagnon, a Vatican official and a strong defender of traditional church teachings, w·11 be investigating del gate to the religious society headed by suspended Archbishop Lefebvre. The rebel archbishop accepted the naming of an apostolic visitor as the first step towards a reconciliation. Cardinal Gagnon hea s the Vatican Cou cil o the Family.

n u1ry •

Cardinal who Ratzinger, announced the appointment and who has met Lefebvre twice in recent months hinted that "necessary obedience" would be required in any move back. This may refer to recent comments by Lefebvre that his group would not have to give up "ts "doctrinal line". Lefebvre was suspended in 1976 and has continued to ordain priests unlawfully and even threatened to ordain bishops. He claims to have 250 priests world wide and 300 seminarians.

Battle over building

325 6644

YOR' ( 'C): yor Ed con ded ranci can Father Bruce Ritter over a ew York building both men anted, but the mayor rrtici ed the priest for allege ly playing on public /mpathy in the tug of ar ov r the tructur . 'It i , ry diffi u t to enter comb t with a

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PERTH 238 Hay St East Perth 325 2187 CITY ARCADE (Shop 2) 322 4892 IRRABOOKA SHOPPI G CE TRE 345 1250

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Shrin s a d oly i p ayed a sign· cant ro A Shri e is virtually a y p ce or attar h s been set a · e and de · ated to foster so e Cathor c beli f or d otio . The eartiest Shri es of Our lady were erected in the paces re ated to e life of her So in Nazareth and Bethle em. Scattered throughout the wor1d, on e ry co ti e t and in e ery land, co n ess ri s have been co secra ed to the other of God, and more rece tty, shri ho o ring r u er the · e of Mo er of Perpetual He have been raised in Thailand, Si gapore, the P ilip · es, a d of course,· A stralia.

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Communicating his faith

Anton Fuetsch is at work in his studio, carving a life-size statue of the ascending Christ. The project for a local Catholic Church is more than a business commi ion. It is the Austrian native's medium for communicating faith. "When people enter the church, I want them to immediately recall the story of Christ and how in the end the victory of inner and eternal peace can be attained," he said. "Christ is our example of how hardship shouldn't deter us."

DOD The 44-year-old Catholic artist is carrying on a threegeneration woodcarving tradition. He aims for the "visual image of eternal truth." The eyes convey that best, he said, because they

can express "inner

sureness, quietness, a that knowledge" there is a continuation from this life to the next. Sculptures, like living figues, are threedimensional, Fuetsch stressed. He learned to carve life's threedimensional quality into his works from his uncle whose works stand in St Stephen's Cathedral in Vienna, Austria. In his own sculptures. Fuetsch tries to find a way to reveal the interior spiritual qualitites of a person

through a sculpture by MONICA CLARK

through the physical exterior. The kind of environment people encounter when they enter a church is also the concern of artist Patricia Walsh, who in the past 10 years has helped six Catholic congregations with major interior church renovations. A fine arts professor Ms Walsh strives for "a feeling of rightness that is conducive to meditation, that makes people want to be in the room." Such "rightness"' comes from attention to detail, to the interplay of colours, the lin of the altar and lectern, the design of the tabernacle door, the use of shapes to fill a large sanctuary space. She measures that sense of rightness intuitively, knowing it is somehow connected to her own spiritual and moral values. "I have to rely on my own openness and aliveness, my willingness to approach my work always vvith a fresh eye," Ms Walsh said She emphasised when attention is paid to all components of the environment in which the Church's worship

The Record, Nowmber 12, 1987

occurs, a new respect for the Christian life can emerge among worshippers. Even if the space for worship is not 100 percent perfect in artistic terms, "the time and effort put into it supports the faith of the people and reinforces the gospel message," she said. Father Ronald Schmit, one of Ms Walsh's students, is acutely aware that art and the design of a worship space have a power to communicate something to others. The environment can reinforce the themes of the liturgy and help to create a caring community, he believes. He graduated from the seminary after earning a degree in interior architectural design. He told of rolling up an ornate carpet in a chapel sanctuary and main aisle during Lent to reveal a bare white floor that would better symbolise the penitential nature of the season. And one Easter Father Schmit placed brightly coloured upholstered panels over the Stations of the Cross to focus the

Artsts in Church date back to ancients ...

When a rchaeolog 1nvest1gated sites the Holy Land I they felt sure w ancient lsrae towns, they dis vered a helpful p ern. As they c through the layers debris, they fou many signs of lsras occupation potte utensils and the li"1 Then, sudde1 something beca clear· In reality, 1· had reached a !eve pre-Israelite cultun

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Father John Castelot How could they be sure? The carefully sifted earth yielded a profusion of art cojects amulets, figurines of fertrhty goddesses and other religious symbols

The surrounchng nations all made reoresentanons of their gods It was too easy for peo-

ple to end up adoring the works of their own

hands

DOD

congregation's attention onto the m s<agt> of the resurrection. Temporary changes of the worship environ· ment such as these can help at special times to "shift the emphasis away from secondary symbol to the primary ones," he believ . His criteria in making these temporary chang 1 Wh ther they help focus the people's attention on the prim· ary meaning of worship - gathering together, proclaiming the word and breaking the bread.

DOD

For Father Schmit, his work on linoleum cuts of biblical scenes and his involvement with matters of interior design are somewhat like praying the rosary, in which the repetition of the Hail Mary's frees the mind and heart for contemplation. "When I'm really into it, I have a sense of complete connectedness to the natural world and to God - that we are in full communication," he said. "Art keeps me physically tuned and in the process I become contemplative, nt to God." p The pri I is convinced that "in art and in liturgy, something greater than me takes over the Holy Spirit."

But God's people were forbodden to make v,s1ble representations of anything whatsover. "You shall not carve Kleis for yourselves in the shape of anything 1n the sky above or in the eanh below or in the water beneath the earth" (Exodus 204). The practical reason for this prorubmon was the real danger of Klolatry

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But the prorubinon also reflects a realization of God's total otherness, his transcendence God rs so completely different from anything in creation, from anything even imaginable, that u rs 1mposs,ble to represent him arusncauv. There were those who interpreted this commandment strictly. As a result they pracucalty strfted all arnsnc expression. at least painting and sculpture Others evidently were more flexible For instance, cherubim were installed in the very Holy of Holies, atop the Ark of the Covenant One of the most surpns1ng examples of Jewish religious an rs the mosaic floor of a synagogue at T1benas. on the shore of the lake It dates from about the fourth century. The colours are still stnk1ngly v,vKI, although rt helps to throw some water on them and wash away the dust At the four corners of the pattern are female figures representing the seasons On one side rs the Torah scroll flanked by two candelabra, with flames blowing realistically m the breeze Most astom h1ng rs the centrepiece. a representation of the zodiac, with the names of the 12 signs m Hebrew. The type of mosaic an appears in

other synagogues from the same general period However,

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are

exceptions to the general rule Hebrew arnsuc inspiration expressed uself m other rich ways, especially ll!erature and music. It rs not for

nothing that the Bible has been on the bestseller list for so long All acknowledge 1t as a masterpiece of human literature

The Book of Job. for example, rs accounted one of the high points m

the history of human literature and the artistry of Luke rs almost proverbial. It would be difficult to assess the Bible's immense influence on

later language and an But there is something paradoxical in the fact that a culture which produced little or no painting and scultpure, furnished the mspirauon of many of the greatest paintings and sculptures of alt times

During the American tour of the Vatican's great art collectlon • few years ago, • friend expressed surprise at the breadth of the holdings. After viewing the collection he told me, "I expected to see the religious art but I was really surprised by how much Greek, Roman and modem art the church has collected." Then he Hked • question people commonly ask: "Why are the popes and the church so Interested In all kinds of art, not Just rellclous art?" I can answer that question, as I did for him, by telling• story. A few years back I wu Invited to the studio of an artist I had met. She was• sculptor and wH wortdng then on • rectangular, brightly coloured ceramic relief of • prophet. She wu designing It for the altar wall of • local church. The 3m clay sculpture with raised features and flowing robes

An American's surprise at Vatican's art by FATHER DAVID O"ROURKE had been cut Into 1-foot square tiles for gluing and firing. Nearly completed when I saw It, the tiles were being reassembled on • large table like giant pieces In • Jigsaw punle.

DOD I was looking at the sculpted face with Its stem black eyes and flowing beard and started to move my hand •hove It as It rested on the table. Then I drew back, lest I do something I shouldn't. "Go ahead," my friend said laugh-

Ing. "It's as solid as • platter. Besides," she added, "sculptures have to be touched to be appreciated. I moulded It with my hands and I llke people to 'look' with their handS-" I ran my fingers along the features and commented that It must be • thrlll to create something like this. "It's more than • thrill," she uld. "For me It's• religious experience." She must have seen some glimmer of surprise or questioning because she went on to give me • biblical leuon connecting the artist's woril with God's creativity. "Think back to the Book of Genesis," she uld. "How did God make Adam?"

Not 'art for art's sake' In an interview on the goal of Church art, paying attention to a Church's artistic environment wasn't

"art for art's sake,"

said professor of art and art history, David Ramsey. Art plays a sacramental role by putting "us in the presence of the sacred in special ways." Art is "a silent language," he emphasised, but a language which has a special capacity to speak to us about God through beauty. "You can know and understand things through art sometimes better than through the

written word."

One of Ramsey's goals is to provide education in the ways art can help to create a suitable environment for worship. He said he finds that are many people unaware of what artists a.re doing today in the church.

A goal of art in the Church by KA THERINE BIRD

Many people seem to think "that the church disengaged itself from art" after the Middle Ages and the Renaissance, he said. So a first step is to "see what has been done and what is being done now."

DOD Ramsey is the founder and director of the Archives of Modern Christian Art developed as a resource for people and parishes interested in what artists are doing in the Church today. The archives collects books, periodicals and

pamphlets on contemporary Church art and has compiled a list of some 200 artists active in preparing art for churches today. It also is building an audio-visual library of slides of modern Church art.

A carefully chosen piece of art in a Church can establish a powerful setting for worship, Ramsey stressed. Part of the appeal of a true work of art, he added, is that it usually is created from materials such as stone or wood, or lovingly painted or drawn by hand. It isn't made of synthetic or plastic materials, Ramsey's discussion vvith me focused on the

visual arts, which he identified as "all the visual objects within the Church which assist the community at worship."

DOD

These include the building itself, craft works such as banners and wall hangings, paintings and statues, and the object used in worship such as vestments and chalices. He believes art can put people in the frame of mind to meet God vvith "broader and deeper perception." The ultimate goal of art in a church, Ramsey added, is to place people "in a situation more receptive to the presence of Christ in their midst."

I knew, of course, th•t God fashioned Adam "from the clay of the earth." As I was speaking she almost magically fashioned • primitive looking man from • sm•D mass of red clay she picked off a b•ttered work table ne•r the wall Then, with more care, she began to sharpen the expression In his eyes and on his face. "We artists make figures," she s•ld, "but our real art Is In having the deepest In the human spirit shine through the clay or the mart>le or the

oil"

DOD

11 you 00 remember the prologue to the Gospel of St John?" she asked me. " 'The word became flesh and made his dwelllng among us and we saw his glory.' "That's my woril as a sculptor. To create hum•n flesh out of clay In a w•y that allows the glory of God to shine through," she continued. "It doesn't have to be • religious subject. But whatever I create, you have to see the humanity." I recalled this story for my friend who wondered at the pre-Christian art and some of the modern, abstr•ct art In the Vatican's art collection •nd Its conn e ctlo n with Nllglon, "Art Is not Just an Illustration for teaching rellalon or the Bible," I told him. "More Important, art Is an attempt to portray what goes on Inside us, to make the struggles of the human spirit visible and to put us In touch with what Is best In uS-"

The Record, November 12, 1987

haplains a

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By BOB BOYLE

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From page 7

ome time after the war finishe , y ung Co imo Scuti announced he was about to migrate to e t rn Australia. if_ ou can g ta job or me out there," John aid - and th ught littl more about it.

DOD oa d in

About June 1951, John met a fellow, a veterinarian in Italy, who was working as a store-nan at Chamberlain Industrie . The man said Chamberlain were lo king for weld r and John quickly arranged a job for him If there, but on hi la t \ ror ing da in the tile fa tor ' he badl ' injured hi right hand.

ODD

new ho hor e an cart from him and sub tituted a utility. ' It wa n't the me," John lament . 'The hor e n w e actly •here to o and you could g t thr u h the round qui cly, but with the utility you eemed to b forever hopping in and out of the thing."

From page 4

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mu c and movern nt are a characteristic of thi rticular liturgy. •. ng la Cox, a professional dancer, provide su rt in d vel m nt of a propriat rnov m nt and g ture, used in response to "In

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PERTH YCS OFFICE P.O. Box 194 orth Perth 600 . Te: (09) 227 7061. Applications close: November 27, 1987.

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Applications are invited for· he position of fu !time worker for the Young Christian Students ovement in the Archdiocese of Perth. The applica t: Must have experience in the YCS movement. ust be committed to the mission of the Church shown by an invol ement in C ristian action in their daily life. Must ave a knowledge of Jocist principles and experience a d/or understanding of the Review of L"fe method. Own transport desirab e. Applicants should apply or eit er a elve month or two year term. Ap lications are to be forwarded to:

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FUNDS APPEAL The Per TYCS movement appeals for financial support to help wi h sending delegates to the Australian TYCS bi-annual conference in elbourne. Donations can be sent to:TYCS SEC ETARV, PO BOX 19 , ORTH PERTH, 600 Ring 328 4071 for more information.

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