There are almost as many Londons as there are Londoners. There’s Shakespeare’s London, Pepys’s London, Johnson’s London — even fictional characters like Sherlock Holmes have their own London.

The city of Saint Thomas More takes form in a representation made by the excellent map designer Mike Hall, Harlow-born but now based in Valencia.

This map was commissioned from Hall by the Centre for Thomas More Studies in Texas and the designer based the view and the colour scheme on Georg Braun and Frans Hogenberg’s map of London from their 1617 Civitates Orbis Terrarum

From his birthplace in Milk Street to the site of his execution, all the sites from the great points of More’s life are here in this map.

The future Lord Chancellor was educated at the school founded by the Hospital Brothers of Saint Anthony, one of the best in the City of London, and when he finished at Oxford returned to London to study law at New Hall and Lincoln’s Inn.

Crosby Place, the house that he bought in 1523 is not far from St Anthony’s School though its surviving remnant was moved brick by brick to Cheyne Walk in 1910 — a site close to More’s Chelsea residence of Beaufort House.

The chapel of Ely Place — town palace of the Bishop of Ely — still survives as St Etheldreda’s, the only mediæval church in London now in use as a Catholic parish.

God’s own Borough of Southwark gets a look in as well, with the Augustinian priory of St Mary Overs (now the Protestant cathedral of Southwark) and the town palace of the bishops of Winchester. Remnants of the great hall of Winchester Palace remains standing to this day.

As is the mapmaker’s privilege, Mr Hall has taken some liberties: in order to fit Lambeth Palace — the residence of the Archbishop of Canterbury (and Primate of All England) he’s shifted it a bit north of its actual spot.

I wish he’d kept the Rose and Globe theatres which he included in his initial sketch for the map — Southwark was the theatre district of its day.

Hall also completed a sketch of Beaufort House as it would have appeared during St Thomas More’s lifetime. The house was demolished in 1740, and today’s Beaufort Street runs the line of the main drive leading up to it.

The Church of All Saints at Chelsea (now known as Chelsea Old Church) is at the bottom of the sketch and is where the More family burial vault is. His severed head is believed to be entombed there to this day.

The Feast of the Annunciation — “Lady Day in Lent” to distinguish it from the Assumption which is “Lady Day in Harvest” — was for much of Christendom the first day of the new calendar year and remains one of the traditional Quarter Days of England.

Eleanor Parker — aka “A Clerk of Oxford” — explains here why Lady Day is so important:

It was both the beginning and the end of Christ’s life on earth, the date of his conception at the Annunciation and his death on Good Friday.

To underline the harmony and purpose which, in the eyes of medieval Christians, shaped the divinely-written narrative of the history of the world, 25 March was also said to be the date of other significant events: the eighth day of Creation, the crossing of the Red Sea, the sacrifice of Isaac, and other days linked with or prefiguring the story of the world’s fall and redemption.

The date occurs at a conjunction of solar, lunar, and natural cycles: all these events were understood to have happened in the spring, when life returns to the earth, and at the vernal equinox, once the days begin to grow longer than the nights and light triumphs over the power of darkness.

The last time I wrote about today’s feast I also pointed out it’s also the reason why many English pubs are called ‘The Salutation’.

It was also on this day in 1654 that the English Catholic colonists aboard the Ark and the Dove arrived in the New World and founded the city of Saint Mary in Maryland, as depicted in the painting above.

Thus the Feast of the Annunciation is officially recognised as the State Day of Maryland.

The cause of all this joy is related best in the Gospel according to St Luke:

AND IN THE SIXTH MONTH, the angel Gabriel was sent from God into a city of Galilee, called Nazareth, To a virgin espoused to a man whose name was Joseph, of the house of David; and the virgin’s name was Mary.

And the angel being come in, said unto her: Hail, full of grace, the Lord is with thee: blessed art thou among women.

Who having heard, was troubled at his saying, and thought with herself what manner of salutation this should be.

And the angel said to her: Fear not, Mary, for thou hast found grace with God.

Behold thou shalt conceive in thy womb, and shalt bring forth a son; and thou shalt call his name Jesus.

He shall be great, and shall be called the Son of the most High; and the Lord God shall give unto him the throne of David his father; and he shall reign in the house of Jacob for ever. And of his kingdom there shall be no end.

And Mary said to the angel: How shall this be done, because I know not man?

And the angel answering, said to her: The Holy Ghost shall come upon thee, and the power of the most High shall overshadow thee. And therefore also the Holy which shall be born of thee shall be called the Son of God.

And behold thy cousin Elizabeth, she also hath conceived a son in her old age; and this is the sixth month with her that is called barren: Because no word shall be impossible with God.

And Mary said: Behold the handmaid of the Lord; be it done to me according to thy word. And the angel departed from her.

Catholic Amsterdam Proclaims a Year of Saint Nicholas

A TINY RELIC of Saint Nicholas the Wonderworker has provided an excuse for Amsterdam Catholics to organise a whole year of festivities dedicated to the holy man and his legacy. The Basilica of St Nicholas stands just across from Centraal Station, gateway to the Dutch capital for so many visitors, and the parish has received as a gift the relic from the Benedictine abbey of St Adalbert’s in Egmond.

The tiny sliver of St Nicholas’s rib was enshrined in the Basilica at a special Mass opening the Nicolaasjaar on the eve of the saint’s feast in December. Bishop Jan van Burgsteden presided and prayers were also offered for HKH Princess Catharina-Amalia whose eighteenth birthday fell days later on 7 December.

The opening of the year met with wide coverage in the media, with even the website of the city proclaiming “There will always be a bit of Sinterklaas in Amsterdam from now on”.

“Saint Nicholas is really coming to Amsterdam now,” deacon Rob Polet told the evening news on Dutch television, “and here he will stay”.

“From the Friesch Dagblad to the Nederlands Dagblad, from Trouw to De Telegraaf: hardly any newspaper wanted to miss it,” the parish reports. “De Stentor, the Eindhovens Dagblad, the Zeeuwse PZC, and many other titles spread the news of St Nicholas. NRC Handelsblad and Het Parool even used it twice.”

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A little bit goes a long way at Southwark’s Catholic cathedral

One of the privileges of living in St George’s Fields on the western marches of Southwark is the presence of St George’s Cathedral: the Catholic mother church for London south of the Thames, and indeed all the way out to Kent and the English Channel.

London’s two cathedrals match one another well. Both serve congregations that are incredibly diverse. At Westminster you are just as likely to find a peer of the realm as a Filipino cleaner. St George’s has an earthier mix, much populated by pious Africans of great dignity, young people, old people, and all the odd bits and bobs who give this part of London its welcoming character.

St George’s is a beautiful cathedral as well. Not without its flaws: the tower is unbuilt, the flooring is too bright and too cheap, and the sanctuary needs some ordering. But never let the perfect be the enemy of the good. The Cathedral took a direct hit from a German firebomb during the war, and — despite the immense loss of most of the Pugin ornamentation and decoration — architect Romilly Craze’s postwar re-building was an immense improvement on Pugin’s original design which that great architect had never really been satisfied with.

A reordering of the sanctuary as late as 1989 very much reflected the ideas of a decade or two earlier. The altar was brought forward into the nave, with the bishop’s throne the focus of attention and the choir shoved behind it. To avoid the visual distraction of the choirmaster, an metal installation with textile hangings stood behind the throne (colloquially known as “the towel rack”).

Luckily the crucifix and “big six” candlesticks from the 1958 re-consecration were found hidden away. Last month they were restored atop a short retable behind the cathedra and this small change has helped immensely in providing a more prayerful atmosphere and a stronger visual focus to the cathedral.

The photos above and below are from the Cathedral’s Advent Carol Service.

The contrast between before (above) and after (below) is subtle but effective.

I love this photo of Blessed Charles — here still the heir to the throne — inspecting Austro-Hungarian troops in the Südtirol in 1916.

On the far right of the photograph, Gen. Franz (Ferenc) Rohr von Denta, commander of the Royal Hungarian Army, beams with a massive grin. He looks like a bit of a character.

Next to him is Archduke Eugen, the last Hapsburg to serve as Hoch- und Deutschmeister of the Teutonic Order, which in 1929 was transformed into a priestly religious order.

Franz Joseph would die just months after this photograph was taken.

His grand-nephew and successor Charles would be the last Emperor of Austria, Apostolic King of Hungary, and King of Bohemia — amongst the myriad other titles — to reign (so far).

The island of Sicily is a cross-section of the numerous kingdoms and empires which have ruled and inhabited it from the Phoenecians down to the present day. During the Norman conquest of the island — those Normans did get around — many Lombards came to help secure the Normans’ rule over the existing Sicilians who were mostly Greek and Arab. The Gallo-Italic dialect of those Lombards is still spoken in a few towns and villages speckled across the island and the settlements they founded are known as the Oppida Lombardorum.

In one such Lombard town, San Fratello, in the 1520s a son was born to an enslaved couple named Cristoforo and Diana whose piety was so highly regarded that their master granted this first-born son, Benedetto (Benedict), his freedom from birth.

From his earliest days Benedict was prone to solitude to the extent that he was mocked by his peers, in addition to being insulted frequently for his black skin. As a teenager he left the family home and became a shepherd but gave whatever he could to help the poor and those even less fortunate than him.

Discerning the call to solitude, Benedict entered the hermitage of Santa Domenica in Caronia but his reputation for holiness was such that the pious people of the island began to visit him and implore him for his prayers and miracles.

Accompanied by another member of the community, Benedict fled to other places around the island, offering great and severe penances in reparation for the sins of humanity, but no matter where he went within days the faithful had found out and pestered him.

When the founder of the hermetic community at Santa Domenica died, the brothers elected Benedict his successor, despite his lack of education and illiteracy. Benedict returned to lead the community until it was abolished in 1562 by the reforms of Pope Pius IV who urged independent groups of Francis-inspired hermits to regularise themselves into existing Franciscan orders.

Benedict went first to a Franciscan friary in Giuliana before settling into that of Santa Maria di Gesù in Palermo, the primary city of Sicily. Having been a superior of his old community, Benedict arrived at the Palermo community as a simple cook but even here his piety and talents were recognised. He was first put in charge of the novices and then, in 1578, his confrères elected him their custos or superior though he was only a brother rather than a priest.

He was known as a miracleworker across the island, but it was not only the poor, the sick, and the destitute who flocked to Benedict to seek his help. Theologians and men of learning came to visit this humble and uneducated friar. Even the viceroy of the island was known to take his counsel on important affairs of state.

In his later years, Benedict returned to being the cook of the friary until his death in April 1589. By that time the whole island of Sicily — Greeks, Arabs, Latins, all — revered this poor, humble, and unlettered friar.

Sicily’s ruler, King Philip III of Spain, ordered a magnificent tomb to be built to house Benedict’s remains in the friary of Santa Maria di Gesù, and in death his cult spread far beyond the island.

St Benedict of Palermo — or Benedict the Moor — was beatified by Benedict XIV in 1743 and canonised by Pius VII in 1807. Over the centuries, many non-white Christians came to implore his intercession and he became particularly popular among natives and mixed-race peoples in South America, in Africa itself, and amongst African-Americans in the United States.

This statue is believed to be the work of the Sevillian sculptor José Montes de Oca and was carved in the 1730s. Long in a private collection in Milan, since 2010 it has formed part of the collection of the Minneapolis Institute of Art.

When the splendidly named Saint Sturm – Sturmi to his friends, apparently – founded the Benedictine monastery of Fulda in A.D. 742 we can presume he had no idea that the magnificent church eventually erected there (above) would one day be considered for housing the Supreme Pontiff of the Universal Church.

Rome, caput mundi, is ubiquitously acknowledged by all Christian folk as the divinely ordained location for the Papacy, but this has not always been acknowledged in practice. Most memorable is the “Babylonian Captivity” of the fourteenth century when the papal court was based at the enclave of Avignon surrounded by the Kingdom of Arles. The illustrious St Catherine of Siena was influential in bringing that to an end.

Since the return from Avignon the Successor of Peter has prudently been keen to stay in Rome, but various crises over the past two centuries have seen His Holiness shifted about. General Buonaparte successively imprisoned Pius VI and Pius VII while he made to refashion Europe in his likeness, and the later slow-boil conquest of the Italian peninsula by the Kingdom of Sardinia caused much worrying in the courts of the continents as well.

In 1870, the Eternal City fell to the troops of General Cadorna, and while the Vatican itself was not violated it was widely assumed the papacy could not stay in Rome. Pope Pius IX evaluated several options, one of them seeking refuge from – of all people – the Prussian king and soon-to-be German emperor Wilhelm I.

Bismarck, no ally of the Church, but shrewd as ever, was in favour of it:

I have no objection to it — Cologne or Fulda. It would be passing strange, but after all not so inexplicable, and it would be very useful to us to be recognised by Catholics as what we really are, that is to say, the sole power now existing that is capable of protecting the head of their Church. …

But the King [Wilhelm I] will not consent. He is terribly afraid. He thinks all Prussia would be perverted and he himself would be obliged to become a Catholic. I told him, however, that if the Pope begged for asylum he could not refuse it. He would have to grant it as ruler of ten million Catholic subjects who would desire to see the head of their Church protected. …

Rumours have already been circulated on various occasions to the effect that the Pope intends to leave Rome. According to the latest of these the Council, which was adjourned in the summer, will be reopened at another place, some persons mentioning Malta and others Trent.

Bismarck mused to Moritz Busch what a comedy it would be to see the Pope and Cardinals migrate to Fulda, but also reported the King did not share his sense of humour on the subject. The advantages to Prussia were plain: the ultramontanes within their territories and throughout the German states would be tamed and their own (Catholic) Centre party would have to come on to the government’s side.

In the end, of course, the Pope decided to stay put in Rome and became the “Prisoner of the Vatican”, surrounded by an awkward usurper state that made attempts at friendship without betraying its hopes for legitimising its theft of the Papal States. It was the diplomatic coup of the Lateran Treaty in 1929 that finally allowed both states to breathe easy and created the State of the City of the Vatican, an entity distinct from but subservient to the Holy See of Rome.

The Second World War brought its own threats to the Pope’s sovereignty, and the wise and cautious Pius XII feared he might be imprisoned by Hitler just as his predecessor and namesake had been by Buonaparte. Pius was determined the Germans would not get their hands on the Pope and so signed an instrument of abdication effective the moment the Germans took him captive. He would have burnt his white clothing to emphasise that he was no longer the Bishop of Rome.

The record is not yet firmly established but it is rumoured that the College of Cardinals was to be convened in neutral Éire to elect a successor. One wonders where they would have met. The Irish government would undoubtedly have put something at their disposal — Dublin Castle perhaps? Despite the whirlwind of war, the election of a pope in St Patrick’s Hall would have warmed the cockles of many Irish hearts.

But what then? Ireland’s neutrality would have been useful but a German violation of the Vatican’s territory would have been grounds for open, though obviously not military, conflict. Further rumours, also totally unsubstantiated, had it that the King of Canada, George VI, quietly had plans drawn up for offering the Citadelle of Quebec to the Pope to function as a Vatican-in-Exile. Others claim it wasn’t until the 1950s that Quebec was investigated as a possibility by the Vatican in case Italy went communist, as was conceivable.

So Cologne, Fulda, Malta, Trent? None of these plans ever occurred, thank God.

And what about England? Why not? The court of St James and the Holy See, despite obvious and significant differences, enjoyed close relations and overlapping interests in many particular circumstances from the Napoleonic wars until present. Pius IX had put feelers out to Queen Victoria’s minister in Rome, Lord Odo Russell, in 1870 but the British ambassador more or less told him of course the Pope would be welcomed in England but don’t be silly, the Sardinians would never conquer Rome.

One imagines the British sovereign would grant a palace of sufficient grandeur to the exiled Pontiff. Hampton Court would do the job. It’s far enough from the centre of London but large enough to house a small court and the emergency-time administration of the Holy Roman Church. Would the ghost of Cardinal Wolsey plague the Princes of the Church?

Thanks be to God, we’ve never had cause to find out. At Rome sits the See Peter founded and so it looks to remain. Ubi Petrus, ibi ecclesia.

The news from the West Country is that Jasper Conran OBE is selling up his place in Wiltshire, the principal apartment at Wardour Castle.

Wardour is one of the finest country houses in Britain, designed by James Paine with additions by Quarenghi of St Petersburg fame. It was built by the Arundells, a Cornish family of Norman origin, but after the death of the 16th and last Lord Arundell of Wardour the building was leased out and in 1961 became the home of Cranborne Chase School.

A friend who had the privilege of being educated there confirms that Conran’s assertion of Cranborne Chase being “a school akin to St Trinian’s” was correct, and tells wonderful stories of the girls’ misbehaviour.

Alas the modern world does not long suffer the existence of such pockets of resistance, and the school shut in 1990. The whole place was sold for under a million to a developer who turned it into a series of apartments, for the most part rather sensitively done, if a bit minimalist.

The real gem of Wardour, however, is the magnificent Catholic chapel which is owned by a separate trust and has been kept open as a place of worship. Richard Talbot (Lord Talbot of Malahide) chairs the trust and takes a keen interest in the chapel and the building. I was down there the Sunday the chapel re-opened for public worship after the lockdown and Richard was there making sure all was well.

Those interested in helping preserve this chapel for future generations can join the Friends of Wardour Chapel.

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IN PREPARING these notes the same response was given by many of Dr Antony Conlon’s friends – “I’ve got lots of stories, but they’re not really suitable for an obituary”. This is in itself an obituary, as it sums up Antony Conlon’s profound sense of fun and friendship; without ever being in the slightest scandalous, yet often hilarious, anecdotes of him are intensely personal. One of his informal nicknames among many of his friends in conversation (more about the other one later) was ‘our mutual friend’ – one knew immediately who was meant, and it reflects his wonderful ability to bring his friends together; there was nothing solitary about Antony Conlon, he lived through and for people.

This quality of openness, while sometimes misunderstood by those who seek clerical detachment in their priests, was an essential part of his priesthood, one which made him deeply pastoral at all times in the everyday world. There was no ‘off-duty Conlon’, even in his lightest moments the same priestly and paternal respect for others was always there, which, paradoxically, attracted non-Catholics to him so readily. His educated and amusing conversation on the widest spectrum of subjects, rarely ‘churchy’, opened the door to everyone.

As one friend said recently, there was never a telephone call, however serious or sad the initial subject, which at some point did not descend (ascend?) to peals of childlike laughter. Even his well-known indignation and fury with those people and institutions he did not agree with (usually because they were opposed to the traditions of the Church or another firmly-held principle) for all their bluster, and the occasional swear-word, were never unkind, and never quite lost sight of human absurdity. (more…)

The greatest church architect
you’ve never heard of

Ludwig Becker and His Churches

For such a prolific church architect of such high quality, not much is known about Ludwig Becker and, alas, he seems to be little studied. Born the son of the master craftsman and inspector of Cologne Cathedral, Becker had church building in his blood. He studied at the Technische Hochschule in Aachen from 1873 and trained as a stone mason as well.

In 1884 Becker moved to Mainz where he became a church architect and in 1909 he was appointed the head of works at Mainz Cathedral, a position he held until his death in 1940. His son Hugo followed him into the profession of church architecture.

That’s about all I can find out about Becker. But here are a selection of some of his churches, to get a sense of his agility in a wide variety of styles.

St Joseph, Speyer, is my favourite of Becker’s churches for the beautiful organic fluidity of its style. Here Art Nouveau, Gothic, and Baroque are mixed somehow without affectation. Rather enjoyably, it was built as a riposte to a nearby monumental Protestant church commemorating the Protestant Revolt. These two rival churches are the largest in the city after its famous cathedral. (more…)

Such paintings were widespread in Catholic England where they served as a vital reminder to the faithful worshipping below of not just the torments of Hell but also the joys of Heaven. In the aftermath of the Protestant revolt, however, such vivid imagery was frowned upon, and the Salisbury Doom was painted over with limewash in 1593. Christ in Majesty was replaced by the royal arms of the usurper queen, Elizabeth I.

It was then forgotten about til its rediscovery in 1819 when hints of colour were discovered behind the royal arms. The limewash was removed, the remnants of the painting were revealed, recorded by a local artist, and then covered over yet again in white. Finally in 1881 the Doom was revealed to the world and subject to a Victorian attempt at restoration with mixed results.

Work on the church’s ceiling in the 1990s allowed experts to better examine the Doom which determined that, while there was a bit of fading, dirt was hanging loosely to the painting and it would be ripe for restoration. It has only been more recently, however, that money has been raised to restore the Doom.

There are other glories in this church yet to be restored, about which more information can be found on the parish’s website.

The Salisbury Doom before restoration (above) and after (below).

If you haven’t already then you have not much longer to purchase a copy of this week’s Catholic Herald which includes an article on the strange death of Christian democracy.

Obviously we want the grand poobahs of the Herald to associate higher sales with the Cusackian presence on the front page, so go out and grab it while you still can.

After Mass on Sunday I told Lally she had to buy it and she scowled I’ve already read it online actually. This is precisely not the attitude to take. Anton’ bought two copies.

If you live in realms where the Herald is not physically available, then I suppose you can read the article online.

Sigrid Undset’s is doubtlessly among the twentieth century’s greatest writers, even though Kristin Lavransdatter, her main works of literature, is set in the fourteenth century. At the ceremony awarding Undset the 1928 Nobel Prize for Literature, Per Hallström described the writer’s narrative as “vigorous, sweeping, and at times heavy”:

It rolls on like a river, ceaselessly receiving new tributaries whose course the author also describes, at the risk of overtaxing the reader’s memory. […] And the vast river, whose course is difficult to embrace comprehensively, rolls its powerful waves which carry along the reader, plunged into a sort of torpor. But the roaring of its waters has the eternal freshness of nature. In the rapids and in the falls, the reader finds the enchantment which emanates from the power of the elements, as in the vast mirror of the lakes he notices a reflection of immensity, with the vision there of all possible greatness in human nature. Then, when the river reaches the sea, when Kristin Lavransdatter has fought to the end the battle of her life, no one complains of the length of the course which accumulated so overwhelming a depth and profundity in her destiny. In the poetry of all times, there are few scenes of comparable excellence.

Obviously Kristin Lavransdatter must be read for itself. I started reading it in the Stellenbosch University library a decade ago and was able to finish it thanks to being given a copy by a kindly Premonstratensian.

But the woman behind Kristin wrote more: her biographical essays and other works (like the one describing a visit to Glastonbury) are just as enjoyable and insightful.

At First Things, Elizabeth Scalia describes Undset’s lives of saints and holy men and women in Sigrid Undset’s Essays for Our Time.

Stephen Sparrow reveals much of Undset’s own biographical detail and how this influenced her writing in Sigrid Undset: Catholic Viking.

But the best essay I’ve read on Sigrid Undset so far is David Warren’s meditation on womanhood, motherhood, and Kristin Lavransdatter. I don’t agree with everything he says (I rather enjoyed the new translation but am thinking I might have to give the old one a go), but David gets Kristin the character, gets Kristin the novel, and gets the way that life is refracted through both.

Read David Warren, then read Sigrid Undset.

Today is Lady Day, the Feast of the Annunciation when the Archangel Gabriel appeared to the Blessed Virgin Mary and announced that she would conceive and bear the child Jesus.

The angelic salutation – “Hail Mary, full of grace, the Lord is with thee… Blessed art thou amongst women, and blessed is the fruit of thy womb, Jesus” – forms the basis of the Ave Maria, one of the most widely uttered prayers in Christendom.

Traditionally this has been one of the greatest of devotions to the Virgin amongst the English, which is why there are so many pubs across England named ‘The Salutation’.

For centuries in England and Scotland (as well as elsewhere), Lady Day was the first day of the calendar year. Scotland moved this to 1 January in 1600 and England did likewise in 1750.

Nonetheless, the English tax year is still based on this date as it commences on 6 April, which is the Annunciation plus twelve days to mark the difference between the old Julian calendar and the modern Gregorian one.

In the realms of fiction, 25 March is the day Tolkien chose for when Frodo destroyed the Ring in Mount Doom, securing the fall of Sauron – with obvious parallels to Christ’s Incarnation securing the defeat of Satan.

This stained glass roundel above is not English, however, but from the Southern Netherlands around 1500-1510.

Elsewhere, A Clerk of Oxford has a good section on the Annunciation.

Plans for modern monstrosity in venerable cathedral’s forecourt

MORE BAD NEWS from Chartres. Fresh from the completion of a controversial and much criticised renovation of the ancient cathedral’s interior, le Salon Beige reports the city has unveiled plans to tear up the parvis in front of the cathedral and replace it with a modernist “interpretation centre”.

The original parvis (or forecourt) was much smaller than the one we know today. Between 1866 and 1905 the majority of the block of buildings in front of the cathedral, including most of the old Hôtel-Dieu, were demolished to give a wider view of the cathedral’s west façade and its “Royal Portals”.

After the war various plans to tart the place up were made and variously foundered — from a modest alignment of trees in the 1970s to Patrick Berger’s plan for an International Medieval Centre. More recently the gravelly space was unsuccessfully “improved” by the addition of boxes of shrubbery placed in a formation that, jarringly, fails to align with the portals of the cathedral.

The proposed “interpretation centre” designed by Michel Cantal-Dupart — at a projected cost of €23.5 million — destroys the gentle ascent to the cathedral and indeed reverses it. At a projected cost of €23.5 million, a giant slab juts apart as if displaced by an earthquake. The paying tourist is invited down into its infernal belly while others prat about on the slab’s upwardly angled roof, ideal for gawking at the newly commodified beauty of this medieval cathedral. It is practically designed for Instagramming, rather than reflection and contemplation.

As you would imagine, reaction has been strong. Michel Janva, writing at le Salon Beige, says the project “plans to imprison the cathedral” and “will disappoint not only pilgrims on their arrival, but also inhabitants and tourists”.

In the Tribune de l’Art, Didier Rykner is damning: “All this is purely and simply grotesque.” The sides of the centre, he points out, will be glazed to allow in natural light, but this will both interfere with multimedia displays and be bad for the conservation of fragile works of art. “This architecture, which looks vaguely like that of a parking lot, is frighteningly mediocre, and this in front of one of the most beautiful cathedrals of the world.”

Rykner attributes blame for the “megalomaniac and hollow project, expensive and stupid” at the doors of the mayor of Chartres, Jean-Pierre Gorges, who he argues has allowed much of the rest of the city’s artistic and architectural heritage to go to rot while devoting resources to this pharaonic endeavour.

Having walked from Paris to Chartres myself I can imagine how much this proposal will injure the experience for pilgrims. After three days on the road, to arrive at Chartres, stand in the parvis, and gaze up at this work of beauty, devotion, and love for the Blessed Virgin is a profound experience. If constructed, this plan would deprive at least a generation or two from having this experience. (But only a generation or two, for it is simply unimaginable to think this building will not be demolished in the fullness of time.)

Chartres is part of the patrimony of all Europe and one of the most important sites in the whole world. For it to be reduced to the plaything of some momentary mayor is a crime. With any luck, the good citizens of Chartres, of France, and of the world will put a stop to this monstrosity. (more…)

by Andrew Cusack (Weekly Standard, 13 September 2010)

This book is the first major overview and exploration of the art of the clandestine Roman Catholic churches in the Netherlands. It is not a study of paintings so much as a history in which art is like the evidence in a detective story, or perhaps even the characters in a play. It might seem extraordinary that there was a place for large-scale Catholic art during the Dutch Republic: Pre-Reformation churches had been confiscated and were being used for Calvinist services, while priests offered the Mass secretly in makeshift accommodations. Eventually a bargain between Dutch Catholics and the civil authorities emerged, trading Catholic nonprovocation in exchange for private toleration of the practice of the faith. Catholics began to purchase properties which, for all outward appearances, maintained the look of ordinary residences but whose interiors were transformed into resplendent chapels and churches.

Xander van Eck provides verbal portraits (often accompanied by contemporaneous painted ones) of several of the important clerics of the Dutch church during this period: Sasbout Vosmeer, the Delft priest influenced by St. Charles Borromeo; Philippus Rovenus, the vicar-apostolic who placed greater emphasis on clandestine parishes having specially dedicated churches, even while they kept an outward unecclesiastical appearance; and Leonardus Marius, the priest who promoted devotion to the 14th-century Eucharistic “Miracle of Amsterdam.” Marius was of such prominence that, after his death, shopkeepers rented out places on their awnings for punters to view his funeral procession. Van Eck includes a handful of amusing asides, such as the expulsion of the Jesuits from the Netherlands as a result of their constant discord with the secular clergy. Mass continued to be offered at the Jesuit church of De Krijtberg in Amsterdam “in the profoundest secrecy” — thus creating a clandestine church within a clandestine church!

The role of the clergy in sustaining the Dutch Church is unsurprising, but it is instructive to learn how instrumental laity were to keeping alive the light of Catholic faith in the Netherlands at the time. Clandestine churches relied on the generosity of Catholic families. Prominent families often provided their own kin as consecrated virgins who brought large dowries into the church, or as priests with suitable inheritances to maintain or endow clandestine parishes. The clandestine church of ’t Hart in Amsterdam, built by the merchant Jan Hartman for his son studying for the priesthood, is still open today as the Amstelkring Museum and Chapel of “Our Lord in the Attic.”

While van Eck explores the extent to which Dutch art from the period followed European norms, an emphasis on the particularity of the art of the clandestine church is to be expected. The sheer volume of art produced during this period — for just three Amsterdam churches alone there were 16 altarpieces — is partly explained by the phenomenon of “rotating altarpieces.” The paintings above the altar would be changed according to the feast or season — a practice sometimes seen in Flanders or parts of Germany but never nearly so widespread as in the Netherlands proper.

Constrained as clandestine churches were on the narrow plots typical of Dutch cities, there was no room for side chapels that might include the large funerary monuments prominent families would construct. This left altarpieces as the most convenient way for munificent Catholics to provide art for their churches: Rotating the altarpieces provided a handy way of displaying numerous commissions rather than just the donation of whoever had been generous most recently, and the themes of these commissions tended to vary in appropriateness to different feasts and seasons.

Some found fault with this method: Jean-Baptiste Descamps, visiting Antwerp in 1769, complained that the most interesting altarpieces were not permanently displayed and were more likely to be damaged in the process of being moved so often.

While the accomplishment and ingenuity of Dutch Catholics in keeping their faith during the Republic was striking, the ill-defined administrative structure of the persecuted church allowed conflicts between clerics to thrive, and doctrinal disputes emerged and festered. The disputes over Jansenism that swept over France and the Netherlands, for example, only exacerbated the administrative problems of the clandestine church. Like their Calvinist compatriots, the Jansenists tended to frown on indulgences, the veneration of saints, recital of the rosary, and private acts of worship, putting greater emphasis on the Scriptures and a more rigorous asceticism. As van Eck points out, this difference in emphasis was not exclusive to the Jansenists, but their novelty (and their heresy) was in preaching the exclusivity of their approach above all others.

Numerous vicars-apostolic had written to Rome arguing for the re-establishment of the episcopacy in the Netherlands to solve the disputes over authority, but their appeals fell on deaf ears. In 1723 a large portion of the Jansenist clergy reinstituted the episcopacy by electing an archbishop of Utrecht from their number — and were subsequently excommunicated, splitting the clandestine church and its clergy in two. (This excommunicated rump united with the opponents of papal infallibility in the following century to form a body that still calls itself the Old Catholic Church.)

When one looks at all this glorious art, not to mention the lives and pious ingenuity of the persecuted, it’s difficult not to feel a little poorer, considering the fruits of our churches in an ostensibly free era. Why does the church today commission painters who are either mediocre or trendy — or both? Artists like Hans Laagland and Leonard Porter show that good art — good liturgical art, even — is possible today, but commissions from the church for traditional artists are sadly few.

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