A Work of the National Liturgical Architecture and Art Council
“His glimpses of the ineffable are translated to us in terms of dancing, for his paintings are a choreography of the spirit – but the dancing is never extravagant. It has the formal quality of a saraband. Every movement, every gesture, every brushstroke becomes part of a ritual.”
James Gleeson, review in Sydney’s Sun, 14 June 1967.
How did the form of Catholicism adopted by the Mparntwe Arrernte people of Alice Springs Australia become what it is today? Catholicism was introduced by the Missionaries of the Sacred Heart (MSC) and the Daughters of Our Lady of the Sacred Heart (OLSH) from 1935, but the image of modern Catholicism practised by Mparntwe Arrernte Catholics varies in significant ways from what they were taught in the mission. Continue reading “Altyerre – Catholicism’s Sacred Dancing Ground”
In 1926 when the church was built, the question Who celebrates the liturgy? might have elicited the response Christ celebrates the liturgy, that is, the priest acting ‘in persona Christi’. Today, our response would be significantly different. We would respond Christ celebrates the liturgy, that is, the whole Body of Christ consisting of all the baptised. The full, conscious and active participation of all the faithful in the liturgical celebration is their right and duty by reason of their baptism (SC 14).
Continue reading “RESTORATION OF STS PETER AND PAUL, BULIMBA”
DAPHNE MAYO caused a sensation in 1927 when she sculpted the tympanum of Brisbane’s City Hall. The conservative city fathers were astonished by the sight of this diminutive 32 year old woman wielding a jackhammer in the hot sun high above the streets. The work made her reputation and introduced the most productive decade of her life as a sculptor. Besides the women’s war memorial in Anzac Square and other commissions, she undertook a number of religious works which are an important part of the patrimony of the Australian Church.
Continue reading “1930’s RELIGIOUS SCULPTURE OF DAPHNE MAYO”