A full decade before Ireland joined the E.E.C., cartoonist J.M. McCarthy filed this vision of the Irish capital’s cosmopolitan future in a 1962 issue of Dublin Opinion.

The scene is Henry Street — renamed “Henri” of course — leading up to Nelson’s Pillar in O’Connell Street and the wags show dear old dirty Dublin transformed into a polyglot European capital.

Advertisements and shop signs are in every language (except Irish), the Gardaí have adopted a képi as their headgear, the currency is the “common mark”, and a stylish young woman with bare arms steals the show and sets the tone.

The European Economic Community finally admitted Ireland as a member in 1973, by which time Nelson had be blown up and Dublin Opinion ceased publication.

dolos, pl. dolosse

Visitors to the seaside and frequenters of port cities will be familiar with those oddly shaped concrete forms which are dropped together to form breakwaters and prevent erosion.

It turns out that they have a name of Afrikaans origin: dolos (plural dolosse).

‘Dolos’ is believed to be a contraction of ‘dollen os’, the name for the children’s toy of knucklebones or jacks. This particular shape was invented by Aubrey Kruger and Eric Mowbray Merrifield to rebuild the revetments of East London’s artificial harbours following the great storm of 1963.

Kruger fashioned a smaller version of the shape to show his idea to Merrifield, and legend has it that Kruger’s father visited them on the quayside and asked Wat speel julle met die dolos? (‘What are you playing at with the jack?’) The name stuck.

In 2016 the South African Mint released a two-rand ‘crown’ coin depicting the dolos as a tribute to this example of South African ingenuity.

Before the age of the skyscrapers, New York’s church spires dominated the horizon and dwarfed their neighbours just like in the medieval towns and cities of the old world — as this photo from the 1900s shows.

Here St Patrick’s Cathedral holds court, with the St. Nicholas Collegiate Reformed Protestant Dutch Church poking up a few blocks down Fifth Avenue.

Slightly north on that same boulevard sits the grand renaissance palazzo of the University Club, with the spire of the Fifth Avenue Presbyterian Church poking up behind it.

The recent election (such as it was) in Zimbabwe brought to mind the Nando’s television advert of Robert Mugabe and his old mates.

Gaddafi, Mao, Saddam, and Idi Amin all make an appearance, and even (somewhat incongruously) die ou krokodil, P.W. Botha.

All those interested in the history of the workers’ struggle would have enjoyed a letter to the editor printed in last week’s Observer.

Floreat Etona, left and right

Alex Renton is correct when he points out that the 20 old Etonian MPs currently sitting are all Tories, but this is far from usually the case (“Our educational apartheid laid bare”, Books, New Review). The first OE to be elected a Labour MP was in 1923, and the party consistently had OE representation on its benches from then all the way to 2010. Even Clement Attlee’s transformative postwar Labour government included two old Etonians: Hugh Dalton as chancellor of the exchequer and Frederick Pethick-Lawrence as India secretary.

Andrew Cusack (Conservative, non-OE)
London SE1

Of course, no one actually reads the Observer, so it went entirely unnoticed.

I have acquired a dangerously successful rate of my pedantic missives being printed in periodicals. The editors of the Irish Times, Times Literary Supplement, Catholic Herald, and even the Tablet have all been guilty of lapses in judgement in this regard.

Pursuant to my post of John Bartlestone’s photographs of City Hall, I came across this photo the other day and it reminded me that this is still one of my favourite rooms in all New York. There’s something about that particular shade of green. I previously wrote about this suite of three rooms in 2006.

The above photo is by Ramin Talaie while below, in 2010, Mayor Bloomberg inspects a city flag being sent to a New Yorker serving in Afghanistan as reported by the Daily News.

The late & much-missed New York Sun also reported on the portraits hanging in City Hall in 2008.

The Friedhofskapelle, or cemetery chapel, in Herrsching on the Ammersee in Upper Bavaria is a wonderful model of a small church or chapel.

It was designed in 1926 by Roderich Fick, who was a disciple of Theodor Fischer. Herr Fick participated in an expedition to traverse Greenland and joined the German colonial service in Cameroon, after the war moving to Herrsching in 1920.

During the Third Reich he was tasked with redesigning the city of Linz where Hitler had spent his childhood, but the dictator found Fick’s plans somewhat restrained, while Martin Bormann was constantly picking fights with the architect. The dominant style of the regime did not align with Fick’s preference for humble, unpretentious tradition in building design.

After the war he was sentenced to aid in the reconstruction of Munich, and also helped restore the magnificent Town Hall of Augsburg.

When a cardinal dies his galero is suspended aloft above his tomb to slowly rot and wither away, thus showing the eventual fate of all earthly things. Unlike galeros, the construction and manufacture of flags has “advanced” much in the past century in the sense that they are now made of virtually indestructible materials. This renders them useful for long-term outdoor display but is somewhat lacking in texture, feel, and look.

Earlier flags were made of materials that allowed them to grow old gracefully adding dignity with each passing year, whereas today more often than not they are printed on synthetics. Sewn flags are still available, if at slightly greater cost, and are a good way to keep things smart.

I love a good trad flag though, and Oriel College Boat Club – a festive institution well known for the quality of both its rowing and its conviviality – has a perfect example of one (above and below). From my admittedly unexpert eye, I’d say it’s printed on cotton. Perhaps others know more.

A handsome banner that I dare say outsmarts any of its neighbours in the row of boathouses along the Isis.

Few things are more enjoyable then a good old-fashioned take-down, and philosopher John Gray delivers the goods with this wonderful review of the latest book by the psychologist and “popular science” writer Steven Pinker, a “feeble sermon for rattled liberals”.

Meanwhile, the inestimable Pee Eee Gee – Pascal-Emanuel Gobry – argues that France’s reigning concept of laïcité is of much more recent vintage then its proponents claims.

The 1905 law ended public subsidies for religious institutions, but instituted no legal or cultural rule against public expression of religious values. So, why are we now told differently?

My only extremely tenuous brush with celebrity is that my Irish teacher (go raibh maith agat, Áine!) happened to tutor on-set the actress who played Luna Lovegood in the Harry Potter films. Among the sort of Dublin people who manage to continually drop into conversation that they went to Trinity, there is a (further) irritating tendency to look down upon the Irish language and use disdain for it as yet another attempt to assert their fragile sense of social superiority.

It is a contemptible and false dichotomy to think that if you appreciate Georgian architecture or Henry Grattan you can’t appreciate the Irish language or Éamon de Valera. Tiresome boors will always try to sell us such dichotomies, but we will not have them.

Paltry though my attempts to learn more Irish have been, what little I’ve picked up has been extremely rewarding and given better insight into the way English in Ireland is spoken and written. (Do the experts still call it “Hiberno-English”, I wonder?) It’s been a pleasure over the past however-long to see Michael Brendan Dougherty – one of America’s most talented journos and a fellow Irish New Yorker – share his own experiences with the Irish language.

MBD’s most recent books column at National Review explores two books concerning Irish, and moves from the Gaeltacht of the mind to a book about Leopolis/Lwów/Lviv/Lemberg in Galicia. City of Lions, incidentally, is published by Pushkin Press, which has proved an almost inexhaustible source of good reads (e.g. Oliver VII).

The recent read I most enjoyed, however, is Gordon Campbell’s delightful combative romp through English translations of the Bible, Making God Speak English. The professor sheds particular light on the thriving culture of pre-Reformation translations of holy writ in the vernacular in general and the English tongue in particular, bursting numerous bubbles of Protestant mythology along the way.

Par example:

Wyclif is a seminal figure in the long road to the catastrophe of the Reformation, with its legacy of decades of wars of religion and centuries of interconfessional animosities that live on in the twenty-first century, but the idea that he was the first translator of the complete Bible into English is a myth. The Middle English Bible, as Henry Ansgar Kelly calls it in his recent reassessment, was in Professor Kelly’s authoritative view neither the work of Wyclif nor of his Lollard followers, but was rather a wholly orthodox Bible with origins in the University of Oxford. It was immensely popular, because it enabled readers and their listeners to understand the readings from the Bible that they heard at Sunday Mass.

I learnt much from Prof. Campbell’s enjoyable submission and you might too.

These days the Irish sculptor Albert Power is very rarely spoken of, and I can’t claim to know much about this bronze bust he did of the founder of the original Sinn Féin, Arthur Griffith.

It might be in the National Gallery in Dublin, though I didn’t notice it when I nipped in there with my sister the other day. More likely it is in Leinster House, where there are other busts of prominent figures of 1916-1921 by Albert Power and the better-known Oliver Sheppard.

Unlike Sheppard, Power was a Catholic, which is probably why he was chosen to sculpt the funerary monument of Archbishop Walsh of Dublin who died in 1921. He submitted designs for the new Irish coinage but the Free State wisely chose the far superior set designed by the English sculptor Percy Metcalfe.

As for the subject of this work of art, the Royal Irish Academy’s Dictionary of Irish Biography describes Griffith as “a lucid writer with a vivid turn of phrase”.

The first newspaper he edited was in South Africa where he took the helm of the Middelburg Courant in 1897, attempting to persuade the English-speaking readers with his Boer-friendly views. “I eventually managed to kill the paper,” Griffith wrote, “as the British withdrew their support, and the Dutchmen didn’t bother reading a journal printed in English – the Dutch were quite right.”

Griffith founded Sinn Féin more as a pressure group to support his pet project of reviving the “King, Lords, and Commons” of Ireland, influenced by the Austro-Hungarian Ausgleich of 1867. Independence, he argued, would satisfy the nationalists, while the shared monarchy would keep the unionists happy. In the event, neither half were much enthused by the prospect.

In the aftermath of 1916, Griffith came into his own as a leader and statesman rather than an agitating journalist. His role in the War of Independence and the Treaty negotiations is well known. Without his persuasive arguments in debates, it is highly unlikely the Dáil would have approved the Treaty.

Gloomy civil war soon overshadowed everything, but Griffith died of a cerebral haemorrhage on 12 August 1922 – just ten days before Collins was killed in ambush at Béal na Bláth.

Who may sit on the steps of the throne in the House of Lords?

Much was made of the Prime Minister’s decision to sit in the House of Lords when they were going through stages of the bill to invoke Article 50 last year. Theresa May had the right to sit on the steps of the throne in the Lords chamber by virtue of being sworn to the Privy Council, as all holders of the four Great Offices of State are (and usually their opposition Shadows as well).

But who else is granted the privilege of lodging their posterior in such a prominent locale?

The Companion to the Standing Orders and Guide to the Proceedings of the House of Lords provides some guidance:

Over in Soho there is a curious little church with a fascinating history. The parish of Our Lady of the Assumption & St Gregory in Warwick Street started out as the house chapel for the Portuguese embassy in Golden Square, later occupied by the Bavarian embassy.

In recent years the Archdiocese of Westminster has placed the church in the care of the Ordinariate of Our Lady of Walsingham, and they have put new life into the strong musical tradition of the parish.

As chance would have, in my capacity as a professional web designer I was commissioned to design a new website for the parish.

You can view the new Warwick Street website here, and read a little more about its interesting history and architecture.

How lovely to see a member of the Gaelic nobility – in this case, the McGillycuddy of the Reeks – having a letter printed in the newspaper (Daily Telegraph, Letters, Wednesday 20 December 2017).

His title is somehow the most fun of all the Chiefs of the Names, though not all bearers of the chiefdom have found it amusing. In the early years of the BBC, the ‘Green Book’ instructing comedy producers what they could and could not get away with contained the instruction ‘Do not mention the McGillycuddy of the Reeks or make jokes about his name’. Clearly a protestation had been made.

Looking at the map of Kerry on my kitchen wall, the eye often drifts to McGillycuddy’s Reeks themselves, the “black stacks” amongst which can be found Corrán Tuathail, Ireland’s tallest mountain.

via Warren Editions

Stereotypes of Nazi generals in British war films

“The reason for my uniform being a slightly different colour to yours
is never explained.”

The British are, of course, obsessed with the Nazis. There are many reasons for this, amongst which we must include the large number of really quite good war films produced during the 1950s and 1960s.

For some indiscernible reason these movies have the virtue of being eternally rewatchable and many a cloudy Saturday afternoon has been occupied by Sink the Bismarck!, Where Eagles Dare, or The Colditz Story.

The genre also deploys with a remarkable regularity a number of familiar tropes of ze Germans which the above clip from a British comedy sketch programme (introduced to me by the indomitable Jack Smith) aptly mocks.

I’ve been reading Lartéguy recently so was intrigued to hear of another French writer formed by his military experience, Pierre Schoendoerffer (right).

In a tweet, the cigarette-smoking Helen Andrews shared an article called What a 1963 Novel Tells Us About the French Army, Mission Command, and the Romance of the Indochina War.

I dislike the romanticism surrounding the magnificent losers vs. ugly victors dichotomy – a magnificent victory is infinitely preferably to both. Hence why my natural Jacobite sympathies are highly qualified by complete and utter disdain for Charlie’s unwillingness to see the task through. (An easy judgement when made from centuries of hindsight, I’ll concede.)

Anyhow, I sent the article to The Major and he proffered this reply:

I was going to say something snide about the French army but to be quite honest I have thought for some time that it is rather better than ours [Ed.: the British]. Their officers are tougher, harder, and more professional than ours – those I encountered professionally certainly were. They are also not infected by the political correctness which is wrecking/has wrecked our army (among other factors).

The distinction between the colonial army and the large conscript army at home is valid. It was the conscript army which was defeated in 1870, 1914, and 1940… not the colonial army to which the modern French army now looks.

It is also true that the US Army don’t do Mission Command well. The Marines on the other hand…

Meanwhile back in the States the prolific Ken Burns has done an eighteen-hour documentary on the Vietnam conflict which allegedly ignores all the scholarly input of the past two decades. Nevermind, we just regret it won’t feature the late great Shelby Foote, who (in Burns’s ‘The Civil War’) spoke with such assurance you imagined he was there.

South Africa’s transition from a monarchy to a republic coincided with a change of currency. Out went the old South African pound (with its shillings and pence) and in came the decimilised rand.

Luckily the republican government had the good taste to commission George Kruger Gray, responsible for the country’s most beautiful coinage, to design the new coins. HM the Queen was replaced by old Jan van Riebeeck, and the country’s arms were deprived of their crown.

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