There are precious few suitable uses for former church buildings.
At the worst end of the spectrum is nightclub, though bar or restaurant often doesn’t fall terribly far behind either. To my mind, I can hardly think of a more suitable use for an elegant and beautiful former church than to be turned into a library.
An example: the former Anglican parish church of St Philip, Stepney, in Whitechapel. Designed by Arthur Cawston, of whom I know little, it reminds me of J.L. Pearson’s Little Venice church for the eccentric “Catholic Apostolic Church”.
St Philip’s was declared redundant in 1979, at which time the neighbouring London Hospital still had its own medical school. This has since merged with that of St Bartholomew’s into “Barts and the London” or “Barts” or “BL”, under the auspices of Queen Mary University of London.
As St Philip’s sat pretty much smack dab in the middle of the campus of the London Hospital (augmented to the Royal London Hospital from 1990) and the college was surviving in cramped accommodation, it was decided to restore the fabric of the church and convert it to a library and study centre. The crypt of the church was adapted to house computer, teaching, and storage rooms as well as the museum of the Royal London Hospital.
Rather than preserve it in aspic, the medical school decided to keep this as a living building by commissioning eight new stained-glass windows to replace plain glass. They are completed along rather forthright German modernist designs and are dedicated to such themes as Gastroenterology and Molecular Biology. They will not be to everyone’s taste, but it is admirable for a medical school to commission stained glass windows at the turn of the millennium.
The Survey of London’s Whitechapel Project has a typically thorough entry on QMUL’s Whitechapel Library / the former church, including these applaudable photographs the Survey commissioned from Derek Kendall.
A lively Doubleyoo-Ess once took me to lunch at the New Club and, in whispered tones, pointed out a gentleman sitting at another table.
“He is the world’s leading expert on the Scots tongue,” my friend explained.
“But he was excommunicated by all the other experts on Scots when he pointed out that eighty per cent of Scots words are interchangeable with Northumbrian English.”
Scots is fascinating for its closeness to English and its distinction. Those who’ve had the pleasure of tarrying awhile in the Netherlandic world (whether in Europe, the Cape of Good Hope, or elsewhere) can detect the odd affinities to Dutch and Afrikaans — reminding you that the North Sea was once a highway, not a barrier.
Luka Ivan Jukic has written an enlightening exploration of how and why Scotland lost its tongue.
Jukic contends there are no signs of revival, which I dispute. There is a much increased interest in the use of Scots, but it feels contrived and falls somewhat flat. If you take a look at the Scots column in The National newspaper, it comes across as the ravings of a kook something akin to Anglish.
■ Amongst the many of Scotland’s joys is the pleasure of just looking at its buildings.
Witold Rybczynski pleads “Give us something to look at!” in his account of why ornament matters in architecture.
■ The New York Post — founded by Alexander Hamilton in 1801 and thus the Empire State’s oldest and most venerable newspaper — reports that the world’s oldest and most venerable forest has been discovered right in the heart of the Catskill Mountains.
This is one of the most beautiful places in America, especially when the leaves begin to turn in autumn, and features widely in the old stories transcribed by Washington Irving and others.
The name of the Catskills is believed to be from the catamounts that used to roam the woods and bergs when our Dutch forefathers of old first arrived in the valley of the Hudson. Our earliest record of it is on a map by Nicolaes Visscher père from 1656 — and pleasingly the local magazine retains the old spelling in its name of Kaatskill Life.
This fossilised forest within the Catskills is believed to date from 385 million years ago (for those who doubt the Ussher chronology — and we remain open-minded ourselves) and was discovered at the bottom of an old quarry.
■ As a precocious teenager I remember a visit to the maritime museum in Rochefort on France’s Atlantic coast that included a fascinating display of the intricacies and accomplishments of global shipping, housed in the long old ropeworks that kept France’s navy afloat in the era of sail.
It’s all been kicking off in the Red Sea, which inspired Wessie du Toit to write that the shipping container is an uncanny symbol of modern life
■ Some people claim there is no life outside of NW3, but as much a fan of Hampstead as I am, my first loyalty in London neighbourhoods is firmly lodged in Southwark. (Pimlico is high on the list, too.)
Many will pine for those precious late summer afternoons idly dawdling on the Heath, but Hampstead in winter has its distinct pleasures. For me, it’s curdling up with a pile of books beside the coal fire in the Old White Bear.
In the Christmas issue of The Oldie, Peter York wrote about the rise and fall of arty Hampstead.
■ One of our Hampstead mates is originally a West Country man and now finds himself even further west, studying law in California.
For a New Yorker, California is The Great Other. If not quite a rival, then certainly something we are always being compared against.
Naturally, one looks down on California, but also with a certain envy. If ever America had a golden moment when imperial might was combined with the simple goodness of life, it must have been coastal California from the 1930s to 1960s — with a hint of survival into the 1980s.
California’s decline is evident to all, though its power and influence is still vast (as the iPhone in your pocket proves). The Manhattan Institute recently devoted an entire issue to the question of Can California Be Golden Again?
I haven’t had a chance to read much of it, but I did enjoy Jordan McGillis’s article on how San Diego retains many of the qualities that once made California the envy of the world.
■ Peter Viereck ranks amongst the names of slightly neglected thinkers in the agora of American conservatism. Reading him always brings some insight, but I never knew much about the man himself.
Samuel Rubinstein supplies a fascinating account of the man and his thinking in Peter Viereck: Psychoanalyst of Nazism.
■ National treasure Peter Hitchens has spent his life hating the ogre Ted Heath, destroyer of worlds. I will never forgive him for what he did to England’s ancient counties and boroughs.
But Hitchens the Heath Hater, with his typically thoughtful approach, offers a reconsideration of the man.
■ All politics is local: Fred de Fossard writes about how EU-obsessed Lib Dems are ruining Bath rather than guarding one of the most precious jewels of English cities.
■ We leave you with this six-colour lithograph from the Pretoria-based artist Nina Torr entitled ‘Here we go again’ (an edition of thirty, available from the Artists’ Press):
The Architecture Association is renowned as the most pedantic of training schools for the profession. Housed as it is in an immaculate set of Georgian townhouses in Bedford Square, its students are rigorously trained to avoid anything that might be beautiful, expressive of the inherited tradition of millennia, or pleasing to the human condition.
Nonetheless, I love architectural models, and the AA is having an exhibition of a handful of models of the various places in which the Warburg Institute has been housed across its peripatetic and tumultuous history until it found its thus-far permanent home in Woburn Square in Bloomsbury.
“Architecture and interiors were crucial for Aby Warburg’s interrogation of culture,” the AA opaquely tells us.
“Between 1923 and 1958, designs were commissioned for buildings, interiors, and exhibitions, as the Warburg Library and Institute moved through a series of homes, first in Hamburg and then in London,” they more helpfully inform.
“This exhibition, an itinerant archive of models and drawings that portray the seven different spaces the Warburg Institute has occupied, sheds new light on Warburg’s involvement with architecture.”
Connectedly, the University of London is hosting an exhibition looking at Charles Holden’s masterplan for that institution’s Bloomsbury campus.
This show “celebrates the architect’s vision of what a modern university could be through displays of detailed architectural models, archival documents, photo albums, and other mixed media”.
Senate House is an amazing building but I think we can be glad the full scale of its original plan — stretching all the way up towards Gordon Square — was never completed.
The Second Empire as an architectural style in America has always bad rap. The most prominent example in the New World is the Old Executive Office Building next to the White House in Washington, D.C. — formerly known as the State, War, and Navy Building after the three government departments it housed in the days of a slimmer federal state.
The OEOB was designed by Alfred B. Mullett, a Somerset-born architect who had immigrated to the United States when he was eight years old. Mullett trained as an apprentice under Isaiah Rogers who was Supervising Architect of the U.S. Treasury Department. In practice, the Treasury’s architect designed all the American federal government’s office buildings across the Union, and Mullett inherited the job in 1866.
At that time, the ever-expanding city of New York was desperately in need of a new post office, having occupied the former Middle Dutch Church since 1844. Congress approved funds for a new building, and an architectural competition attracted fifty-two entries. Instead of choosing one of the entries, five leading contenders were selected to collaborate on producing a single design.
Mullett criticised the joint design as too expensive and called in the job to his own office so that he could design the building himself.
Mullett’s Second-Empire design provided for a post office open to the public on the ground floor, mail sorting rooms below it, and space for federal courtrooms as well as offices for federal agencies in the floors above the postal facilities.
The original design (above) called for only four storeys but during the design process the need for more space to serve the growing city moved Mullett to slip another floor in beneath the mansard roof. (more…)
I’m ashamed to say I’ve never been to the Chelsea Flower Show, the most florid event on London’s social calendar. It is a delight flâneur-ing around the neighbourhood the week of the Show as many of the pubs, restaurants, and businesses in the vicinity pull out the stops in terms of their own floral displays.
I used to live in Chelsea but escaped to Southwark and there are some delightful gardens in our vicinity. But I’ve never regretted avoiding the Chelsea Flower Show more than when I discovered Jonathan Snow’s delightful entry of a Cape Dutch garden in the 2018 exhibition.
Snow and his wife had been on holiday in the Cape a few years before and the beautiful fynbos captured the designer’s imagination. The architecture must have too, for Snow topped his garden off with a pocket Cape Dutch house that ties it all together.
I can well imagine taking a morning koppie koffie on that stoep — and perhaps either a stiff gin-and-tonic or some ice-cold vin de constance as the sun goes down.
An excellent effort that makes me pine for the Cape.
■ I had the great privilege of studying French Algeria under the knowledgeable and congenial Dr Stephen Tyre of St Andrews University and the country continues to exude an interest. The Algerian detective novelist Yasmina Khadra — nom de plume of the army officer Mohammed Moulessehoul — has attracted notice in Angledom since being translated from the Gallic into our vulgar tongue.
Recently the columnist Matthew Parris visited Algeria for leisurely purposes and reports on the experience.
■ While you’re at the Spectator, of course by now you should have already studied my lament for the excessive strength of widely available beers — provoked by the news that Sam Smith’s Brewery have increased the alcohol level of their trusty and reliable Alpine Lager.
■ This week Elijah Granet of the Legal Style Blog shared this numismatic gem. It makes one realise quite how dull our coin designs are these days. I don’t see why we shouldn’t have an updated version of this for our currently reigning Charles.
■ Meanwhile Chris Akers of Investors Chronicle and the Financial Times has gone on retreat to Scotland’s ancient abbey of Pluscarden and written up the experience for the FT. As he settled into the monastic rhythm, Chris found he was unwinding more than he ever has on any tropical beach.
Pluscarden is Britain’s only monastic community now in its original abbey, the building having been preserved — albeit greatly damaged until it was restarted in 1948. The older Buckfast is also on its original site but was entirely razed by 1800 or so and rebuilt from the 1900s onwards. (Pluscarden also has an excellent monastic shop.)
■ An entirely different and more disappointing form of retreat in Scottish religion is the (Presbyterian) state kirk’s decision to withdraw from tons of their smaller churches. St Monans is one of the mediæval gems of Fife, overlooking the harbour of the eponymous saint’s village since the fourteenth century, and built on the site of an earlier place of worship.
Cllr Sean Dillon pointed out the East Neuk is to lose six churches — some of which have been in the Kirk’s hands since they were confiscated at the Reformation, including St Monans.
John Lloyd, also of the FT, reported on this last summer and spoke to my old church history tutor, the Rev Dr Ian C. Bradley. More on the closures in the Courier and Fife Today.
What a dream it would be for a charitable trust to buy St Monans and to restore it to its appearance circa 1500 or so, available as a place of worship and as a living demonstration of Scotland’s rich and polychromatic culture that was so tragically destroyed in the sixteenth century. You could open with a Carver Mass conducted by Sir James MacMillan.
■ And finally, on the last day of MMXXIII, the architect Conor Lynch reports in from Connemara with this scene of idyllic bliss:
The church in die Paarl is the third-oldest NGK congregation in South Africa, after the Groote Kerk in Cape Town and the Moederkerk in Stellenbosch. It is often known as the Strooidakkerk (straw-roof church) for obvious reasons.
This part of the Drakenstein was first settled by Huguenots, where the dominee Pierre Simond preached in French from the foundation of the church in 1691 until he returned to Europe in 1702.
As such he might be expected to have ideas about the idea of a university, and he wrote about them in The Spectator in August 1983.
Mister Grimond (as he still was then, only just), suggested those interested in the subject “might turn to a lecture by Ronald Cant, sometime Reader in Scottish History in the University of St Andrews”:
[…]
A vital aspect of this tripartite organisation, as Cant says, was that each should serve and support the other. But the studium, while interacting with the regnum and ecclesia, must maintain its independence.
It was certainly the business of the studium to advance knowledge, but that was not to be the end of the matter. Knowledge was linked to public service. The learned man had a duty to the community as well as a right to pursue his intellectual quarry. In fact he pursued the quarry on behalf of the community.
The tripartite division of the world, although old-fashioned, seems to me a useful concept, emphasising that government, morality, and higher education are separate but intertwined.
It seems to me that if we expel the regnum and the ecclesia utterly from the world of the university we shall end up paradoxically with universities totally dependent upon the state… but as subservient as those in Rome.
The liberal spirit gave birth and sustenance to universities; if its progeny does not foster it in the regnum they may indeed end up as purely vocational colleges.
One of the little tragedies of New York urbanism is that when Archer Milton Huntington was transforming a block of upper Manhattan into an acropolis of culture he failed to buy the entire block.
Huntington named his complex Audubon Terrace in honour of the artist and ornithologist John James Audubon whose home, Minniesland, overlooked the Hudson at the western end of the block. His failure to obtain Minniesland meant that the remainder of the block was snapped up by developers instead of incorporated into his campus.
In the 1910s, the speculators built apartment buildings that turned their rather rude and unadorned backs to Audubon Terrace, terminating the vista from Broadway. When you imagine the potential prospect all the way to the river, it is all the more tragic.
The crass posterior of these apartment blocks naturally dissatisfied the members of the American Academy of Arts & Letters, whose building sits on either side — and indeed beneath — the part of the terrace immediately adjacent to them.
McKim Mead & White had designed the first phase of the Academy’s handsome building facing on to West 155th Street, which opened in 1923, and Cass Gilbert was chosen to design the auditorium and pavilion which would complete the body’s portion of the site.
The Academy used the pavilion for art exhibitions and other events, with the terrace in between serving as a useful spot for springtime drinks parties for the academicians and their many guests.
The infelicitous nature of their neighbours clearly irritated the Academy, and in 1929 they had a conversation with Cass Gilbert about designing some sort of screen to satisfyingly terminate the vista down Audubon Terrace and block the view of the apartment buildings.
Gilbert sketched out a plan to build an arched screen connecting the pavilion to the main building across the terrace, topped off by a sculptural flourish.
There is a danger its scale may have overwhelmed the space, but that seems a preferable struggle to face when compared to the problem of the rude neighbours.
Events, as they so often do, intervened. The Wall Street Crash badly affected the American Academy’s finances, and Archer Huntington was forced to increase his already generous subsidy to the body even more just to make ends meet.
Gilbert’s final completion of Audubon Terrace was not to be.
The Academy was founded as a bastion of the old guard against the avante-garde, but in recent decades it has let its hair down a little, and leans more towards the modern than the traditional.
All the same, its current president is an English-public-school-and-Cambridge-educated philosopher from one of the most aristocratic families in Ghana, so it’s reassuring they’re keeping a bit of the old with the new.
The terrace is often used as a filming location for cinema and television, given the high quality of its architecture and the fact that it is visually not well-known even among New Yorkers, so can be deployed as a foreign setting.
The HBO programme ‘Boardwalk Empire’ used the American Academy’s terrace as an Italian port, using green screens (instead of a Cass Gilbert monumental arch) to transform the piazza.
Audubon Terrace and its surviving institutions — the expanding and renovating Hispanic Society, the American Academy of Arts & Letters, and the Church of Our Lady of Esperanza — are an intriguing hidden gem of upper Manhattan, well worth a visit.
I don’t imagine anything like Cass Gilbert’s screen will ever be built, but every time I drop in to this neck of the woods I can’t help but thinking there’s some unfinished business.
It forces people to stretch themselves, it gives a bonus to the best, it encourages you to surpass others and to surpass yourself.
But, at the same time, it creates injustices, it establishes monopolies, it favours cheaters.
So don’t be blind to the market. You should not imagine that it will solve every problem on its own.
The market is not above the nation and the state. It is the nation, it is the state which must oversee the market. »
The rather garish and invasive plans to renovate the parvis of Chartres cathedral, turn it upside down, and install a museum underneath — previously reported on here in 2019 — have been radically revised in an infinitely less offensive direction.
The City of Chartres has released the final approved designs which show the esplanade of the cathedral renovated but left largely in place.
Instead of the original plan up reversing the grade of the parvis upwards away from the cathedral, the entire museum will be kept underground and out of sight. (more…)
During the 1640s, a conflict arose between Kongo’s pious and militarily successful King Garcia II and his vassal, the Count of Sonho. Seeking the help of the Dutch Republic and its stadtholder, the Count sent his cousin, Dom Miguel de Castro, to the Netherlands as an emissary.
Dom Miguel arrived at Flushing in June 1643 and proceeded to Middelburg where he was received by the Zealand chamber of the Dutch West India Company.
During the Kongo nobleman’s fortnight in Middelburg, the chamber commissioned these portraits of Dom Miguel and his two servants painted by Jasper Becx — or possibly by his brother Jeronimus.
The Zealand chamber gave the trio of portraits to Johan Maurits — Prince of Nassau-Siegen, governor of Dutch Brazil, and originator of the Mauritshuis — who in 1654 gave them to Frederik III of Denmark, along with twenty Brazilian paintings by Albert Eckhout.
A full-length portrait of Dom Miguel was taken back to Africa by him and, alas, is now lost.
An upcoming renovation to the Hôtel du parlement in Quebec City will also bring a change in the seating plan of the Assembly’s parliamentary chamber. Deputés agreed a moderate alteration to the current Westminster-style seating plan: a horseshoe shape will replace the crowded back two rows of desks with a curved arrangement.
The original clerks’ table designed by the building’s architect, Eugène-Étienne Taché, in 1886 will also be returned to centre-stage in the Salon bleu (formerly the Salon vert) of Quebec’s National Assembly. The room is also, I believe, the only parliamentary chamber to feature in a film by Alfred Hitchcock.
Renovations are scheduled to begin in January of next year, when deputés will start convening in the Salon rouge that formerly housed Quebec’s Legislative Council, abolished in 1968. (Quebec was the last Canadian province to abolish the upper house of its parliament.)
“The Salon bleu has a strong symbolic value for the Quebec nation,” claims Éric Montigny, professor of political science at Laval University (founded 1663).
“We must respect this tradition and evolve in a very, very gradual manner,” Professor Montigny told the Journal de Québec. “A parliament is not trivial.”
The Assembly numbered only sixty-five members when Taché’s edifice was completed in 1886, while today 125 deputés have to fit into the parliamentary chamber.
The new arrangement would make room for as many as 130 legislators, plus the Président in the speaker’s chair. It will also allow for a good number of the historic desks in the chamber to be retained.
Other potential arrangements were considered and rejected, including introducing a half-moon hemicycle akin to Paris, Washington, and other republican legislatures.
Prof Montigny dismissed claims that semicircular arrangements lead to more collaborative dialogue and constructive work between government and opposition parties:
“It’s an argument that is raised regularly, but I don’t know of any studies that will support this theory.”
The most significant change to the chamber in recent years was the removal of the crucifix from above the président’s chair, first installed in 1936 by the giant of Quebec politics, premier Maurice Duplessis.
That crucifix, and its 1982 replacement, were removed in 2019 and are now displayed as historical artefacts in an ancillary part of the parliament building.
[NDLR: I wrote about the crucifix back in 2008.]
The horseshoe seating plan seems a happy compromise: Westminster-style parliaments — even those that are unicameral like Quebec’s — are honest about the antagonism between government and opposition, and the horseshoe preserves the antiphonal arrangement conducive to this, while rounding it off with a curve at the end.
For my part, I will be happy to see the removal of the arbitrary trapezoid of the modern clerks’ table (below) and its replacement by its historic predecessor.
[…]
And it was for this same reason that they were unable to maintain that supremacy: for all its busy tenacity, their effort lacked a higher inspiration and, therefore, real vitality. Numerically, too, they were too few to be able for long to subdue and batten on half the world. It was the same maladjustment which turned Sweden’s taste of world-power into an episode: the national basis was too small.
There is no doubt that the cultural level was at that time higher in Holland than in the rest of Europe. The universities enjoyed an international reputation. Leyden in particular was accounted supreme in philology, political science, and natural philosophy.
It was in Holland that Descartes and Spinoza lived and worked, as also the famous philologists Heinsius and Vossius, the great jurist-philosopher Grotius, and the poet Vondel, whose dramas were imitated all the world over.
The Elzevir dynasty dominated the European book trade, and the Elzevir publications — duodecimo editions of the Bible, the classics, and prominent contemporaries— were appreciated in every library for their elegant beauty and their correctness.
At a time when illiteracy was still almost universal in other lands, nearly everyone in Holland could read and write; and Dutch culture and manners were rated so high that in the higher ranks of society a man’s education was considered incomplete unless he could say that he had been finished off in Holland, “civilisé en Hollande”.
The colonising activities of the Dutch set in practically with the new century, and fill the first two-thirds of it. They quickly gained a footing in all quarters of the world.
On the north-east coast of South America they took possession of Guiana, and in North America they founded the New Amsterdam which was later to become New York: centuries afterwards the Dutch or “Knickerbocker” families still constituted a sort of aristocracy.
They spread themselves over the southern-most tip of Africa, where they became known as Boers, and imported from there the excellent Cape wines.
One whole continent bore their name: namely, New Holland — the later Australia — round which Tasman was the first to sail. Tasman did not, however, penetrate to the interior, but supposed Tasmania (which was named after him) to be a peninsula.
The Dutch were also the first to land on the southern extremity of America, which was named Cape Horn (Hoorn) after the birthplace of the discoverer.
Their greatest acquisitions, however, were in the Sunda islands: Sumatra, Java, Borneo, Celebes, and the Moluccas all came into their possession.
Extending out to Ceylon and Further India, by 1610 they had already founded their main base, Batavia, with its magnificent trade-buildings. In fact they ruled over the whole Indian archipelago. For a time they even held Brazil.
With all this, they never, in the true sense of the word, colonised, but merely set up trading centres, peripheral depots, with forts and factories, intended only for the economic exploitation of the country and the protection of the sea routes.
Nowhere did they succeed in making real conquests; for these, as we said before, they had not the necessary population, nor had they, as a purely commercial people, the smallest interest in doing so.
Their chief exports were costly spices, rice, and tea. To the last-named Europe accustomed itself but slowly. At the English Court it first appeared in 1664 and was not considered very palatable — for it was served as a vegetable. In France it was known a generation earlier, but even there it had to make its way slowly through a mountain of prejudice.
Moreover, its consumption was limited by the Dutch themselves, who, having a monopoly to export it, raised the prices to the level of sheer extortion. This was in fact their normal procedure throughout, and they did not shrink from the most infamous practices, such as the burning of large pepper and nutmeg nurseries and the sinking of whole cargoes.
Their home production, too, dominated the European market with its numerous specialities. All the world bought their clay pipes; a fishing fleet of more than two thousand vessels supplied the whole of Europe with herrings; and from Delft, the main seal of the china industry, the popular blue and white glazed jugs, dishes, and table implements, tiles, stoves, and fancy figures went forth to all points of the compass.
One Dutch article that was in universal demand was the tulip bulb. It became a sport and a science to breed this gorgeous flower in ever new colours, forms, and patterns. Immense tulip farms covered the ground in Holland, and amateurs or speculators would pay the price of an estate for a single rare fancy breed.
The get-rich-quick people threw themselves into the “option” game: that is, they sold costly specimens, which often existed only in imagination, against future delivery, paying only the difference between the agreed price and the price quoted on settling day. It is indeed the Dutch who may claim the dubious honour of having invented the modem stock-exchange system with all the manipulative practices that we know today.
The great tulip crash of 1637, which was the result of all this bubble trading, is the first stock-exchange collapse in the history of the world. The shares of the Dutch trading companies, in particular the East Indian (floated in 1602) and the West Indian (1621), were the first stocks to be handled in the stock-broking manner (their par value speedily tripled itself, and the dividends rose to twenty per cent and higher); and the Amsterdam Exchange, which ruled the world, became the finishing school for the game of “bull” and “bear.”
Then, too, during the first half of the seventeenth century, the Dutch were Europe’s sole middlemen: their mercantile marine was three times as big as that of all other countries.
And although — or indeed because — the whole world depended on it, there arose a bitter hatred against it (contrasting strangely with the extravagant admiration accorded to their manners and comforts) which was intensified by the brutal and reckless extremes to which they went in maintaining their advantage. “Trade must be free everywhere, up to the gates of hell,” was their supreme article of faith.
But by free trade they meant freedom for themselves — in other words, a ruthlessly exploited monopoly. This was also the kind of freedom that Grotius meant when in his famous treatise on international law, Mare liberum, he stated that the discovery of foreign countries does not in itself give right of possession, and that the sea by its very nature is outside all possession and is the property of everyone.
But as the sea was in fact in the possession of the Dutch, this liberal philosophy was no more than the historical mask for an economic terrorism.
In this wise the “United States” became the richest and most prosperous country of Europe. There was so much money that the rate of interest was only two to three per cent.
But although naturally the common people lived under far better conditions than elsewhere, the great profits were made by a comparatively small oligarchy of hard, fat money-bags, the so-called “Regent-families” who were in almost absolute control — since they filled all the leading posts in the government, the judicature, and the colonies — and looked down on the common man, the “Jan Hagel,” as contemptuously as did the aristocrats of other countries.
Opposed to them was the party of the Oranges, who by an unwritten law held the hereditary town governorships; their aim was indeed a legitimate monarchy, but they were nevertheless far more democratic in their ideas than the moneyed class, and were therefore beloved of the people. The best talent, military and technical, gathered about them. The first strategists of the age were on their staff. They nurtured a generation of virtuosi in siege warfare, privateering, artillery, and engineering science. The water-network created by them, which covered the whole of Holland, was considered a world marvel. They were masters, too, of diplomacy. …
What could be more mundane than the Country Bus Services Map? Not when you put the design in the hands of Max Gill. Younger brother to the more famous (but controversial) Eric Gill, Lesilei Macdonald “Max” Gill was a polymathic artist: cartographer, designer, sculptor, painter, and letterer.
In 1914, Frank Pick, inventor of the London Underground brand, hired Max Gill to create the Wonderground Map. Each Underground station had a copy of this map with its inventive and amusing illustrations, such as the two figures hurling hams at Hurlingham. As one newspaper said when it was introduced, ‘People spend so long looking at this map – they miss their trains yet go on smiling.’
The Country Bus Services Map dates from 1928 and depicts London as a great crammed and crowded fortress city from which bus services flow forth to allow the citizens to escape its walls and experience the rustic beauty of the surrounding countryside.
St Paul’s Cathedral looms large between shields depicting the arms of the City and County of London, with the Monument, the Port of London Authority, and the Tower cuddling up to it.
Lambeth Palace and the Oval at Kennington are the only features south of the river that make it into Gill’s walled metropolis.
In more recent years, the designer and typographer Adam Hayes decided to issue a cheeky update entitled ‘London (After Max Gill)’ (available as a print as well).
Choked by smoggy traffic, the Shard now looms large, while a cheese grater represents the Cheesegrater. Tree stumps are joined by fussy signs instructing NO THIS and NO THAT and CCTV cameras are omnipresent.
‘Wonderground’ and the Country Bus Services Map were not the limits of Max Gill’s work for London Underground. The London Transport Museum holds many examples of his work within there collection, some of which have been digitised and are viewable online — though irritatingly not in any sufficiently zoomable detail.
Wren’s post-Fire St Paul’s Cathedral was an icon of resistance to German aggression and an emblem of survival during the Blitz, but while the dome survived the church did suffer damage: A bomb fell threw the roof of the east end on the evening of 10 October 1940, tumbling masonry and destroying the high altar.
Despite the reredos remaining largely intact, as can be seen in the photograph above, it was decided to remove it and rebuild the High Altar under a baldacchino as Sir Christopher Wren had intended.
In 1958 the new High Altar, designed by W Godfrey Allen and Steven Dykes Bower, was dedicated with an American Memorial Chapel behind it.
This was proposed by the Dean of St Paul’s and General Eisenhower volunteered to raise money for it in the United States.
The Dean turned down the Supreme Commander’s offer, saying that this would be paid for by Britons as an appreciation of the American sacrifice during our common struggle.
A roll of honour lists the names of the 28,000 Americans who gave their lives while stationed from Great Britain.
Perhaps more intriguing than either view is the one below of the interior of St Paul’s before the Victorian scheme for the High Altar was executed.
For those looking for an explanation as to the notable success of the Ukrainians on the battlefield in the current unpleasantness taking place in their country, look no further.
In a thread of tweets, the biblophile Incunabula reveals the Ukraine’s secret weapon: the Peresopnytsia Gospels (Пересопницьке Євангеліє).
“All six Ukrainian Presidents since 1991,” Incunabula writes, “including Volodymyr Zelensky, have taken the oath of office on this book: the sixteenth-century Peresopnytsia Gospels, one of the most remarkably illuminated of all surviving East Slavic manuscripts.”
“The Peresopnytsia Gospels were written between 15 August 1556 and 29 August 1561, at the Monastery of the Holy Trinity in Iziaslav, and the Monastery of the Mother of God in Peresopnytsia, Volyn.”
“This manuscript is the earliest complete surviving example of a vernacular Old Ukrainian translation of the Gospels. Its richly ornamented miniatures belong to the very highest achievements of the artistic tradition of the Ukrainian and Eastern Slavonic icon school.”
“The Peresopnytsya Gospels were commissioned in 1556 by Princess Nastacia Yuriyivna Zheslavska-Holshanska of Volyn, and her daughter and her son-in-law, Yevdokiya and Ivan Fedorovych Czartoryski. After its completion the book was kept in the Peresopnytsya Monastery.” (more…)
From the Westchester Herald (as reprinted in the Times of London, 24 April 1835):
On the premises just mentioned there is still standing an old stone house, built in the ancient Dutch style of architecture, during the French war, by Wolfred Acker, and afterwards purchased by Van Tassel, one at least of whose descendants has been immortalized in story by the racy pen of its present gifted proprietor.
It is the identical house at which was assembled the memorable tea-party, described in the legend of Sleepy Hollow, on that disastrous night when the ill-starred Ichabod was rejected by the fair Katrina, and also encountered the fearful companionship of Brom Bones in the character of the headless Hessian.
The characters in this delectable drama are mostly known to our readers; but time, that tells all tales, enables us to add one item more, which is, that the original of the sagacious schoolmaster was not the individual generally considered as such, who still resides in this country, but Jesse Martin, a gentleman who bore the birchen sway at the period of which the legend speaks, and who afterwards removed further up the Hudson, and is since deceased.
The location is a most delightfully secluded spot, eminently suited to the musings and mastery of mind; and it is the design of the proprietor, without changing the style or aspect of the premises, to put them in complete repair, and occupy them as a place of retirement and repose from the business and bustle of the world.