Founded in 1913, this New Zealand outdoor clothing company advertises: “We have to make a good garment. Most of our customers have guns.” Their classic heavy woollen garment with a lace-up section at the neck has been a favourite of Kiwi farmers for decades, but the firm now produces clothing for city-dwellers and outdoor adventurers as well.

I just like their logo.

“We didn’t know quite how to take this, but we sat there entranced.”

ONE OF THE markedly few deficiencies of the English language is coming up with a word to describe Richard Demarco. The Scottish press have generally settled upon “impresario” but even that somewhat-ambiguous word fails to do the man justice. Ricky was born in Edinburgh in 1930, grew up in Portobello, and remembers the day when his mother held him back from school because Italy — from whence he stock came — had just declared war on Great Britain. He’s attended every Edinburgh Festival since the very first one began in 1947 — as the founders put it, to “provide a platform for the flowering of the human spirit” in the grim aftermath of the Second World War.

Richard Demarco, couchant, with noted Scots caricaturist Emilio Coia.

In 1963, he cofounded the Traverse Theatre, Scotland’s theatre for new writing, and three years after that founded the Richard Demarco Gallery which promoted Scotland’s cultural interchange with artists across Europe including — very importantly to Richard — from behind the Iron Curtain that divided the continent into free and captive halves. This was during an age when many in the arts world were too busy sympathizing with the murderous totalitarianism that had subjugated half of Europe. Richard has been a deep critic of the choices made by the British government as patron of the arts throughout the decades of his life, but not too long ago he finally patched things up with the Scottish Arts Council.

Readers of Alexander McCall Smith’s 44 Scotland Street might recall the man who comes to speak to the Scottish Police College. The “really important person from the art world in Edinburgh”, as Mr. McCall Smith puts it, comes and tells the trainee constables about the gorgeousness of Italian carabinieri uniforms and how the Scottish psyche still suffers from the iconoclasm of the Reformation, and even suggests architectural alterations and more sympathetic decoration of the Police College. “We didn’t know quite how to take this, but we sat there entranced,” the character admits in 44 Scotland Street. Anyone who either knows Ricky or has been to one of his lectures would immediately recognize the unnamed subject of the passage.

I first met the man when I was a first-year student at St Andrews and he had come up from the capital to give a lecture. I can’t remember what the stated subject was but this is entirely irrelevant as so vast and wide-ranging is the mind & experience of Richard Demarco that he is known for (some would say “notorious for”) never keeping within the bounds of the stated subject. Those who invite Richard to speak shouldn’t bother with a subject, just make posters stating “RICHARD DEMARCO SPEAKS”, giving the date, time, and place, and a crowd of interested characters is bound to turn up. (more…)

© LIFE

But is it the Hildegard of historical fact or modern fantasy?

THE LIFE OF Saint Hildegard von Bingen — the Benedictine nun, writer, scientist, physician, and poet perhaps best known as a composer — has been brought to the screen in a new German-produced film. “Vision – Aus dem Leben der Hildegard von Bingen” was released in Germany & Austria in September and may receive a wider European release in 2010. From the voluntary confinement of the cloister, this woman corresponded with the Emperors Lothair II and Frederick Barbarossa, the popes Eugene III and Anastasius IV, the great patron of art Abbot Suger, and of course the great Cistercian reformer St. Bernard of Clairvaux. Hildegard was authorised to go on four preaching tours, and her Ordo Virtutum was the first allegorical morality play of the medieval period. She even invented a demi-language, Lingua Ignota (“unknown language”), and created an alternative alphabet in which to write it. (more…)

Downside Abbey, Somerset, England. (more…)

“It’s too easy for theological writers to sling around Abstractions with Capital Letters, as if with each stroke of the pen they’re tapping into Plato’s realm of changeless, ineffable Forms. Or at least that they’re writing in German, where all nouns start with caps.”

So begins John Zmirak, who tells a delightful story about one of America’s premier Catholic newspapers.

“A friend of mine used to write weekly for the estimable investigatory journal The Wanderer. Founded by German-Catholic immigrants, it was published auf Deutsch well into the twentieth century.

As my friend recalled, ‘The editors were, I think, waiting for the rest of the country to catch up with them. At last they admitted that this was unlikely, and agreed to translate the paper. But they kept on as their typesetter someone named Uncle Otto, who for years insisted on capitalizing every noun.’”

Seraphic Spouse held a poll on what pronouns people prefer using when referring to God: 1) He/Him/Himself, 2) he/him/himself, or 3) avoiding male pronouns. The unsurprising results were 89% for the traditional He/Him/Himself, 9% for the New York Times option of he/him/himself, and just over 1% for the radical choice of avoiding male pronouns altogether.

“Some readers may be wondering why this matters so much,” saith Lady Seraphic. “The answer is that people do care about these things, and I don’t want any reader of the book to feel alienated. I want everyone who might read such a book to feel embraced. And just as a now-elderly generation of Catholic women felt alienated by masculine language for God, younger generation of Catholics want to conserve the great respect for God now lacking in secular society.”

Over at Epigone’s Eloquence, meanwhile, Turgonian watched a biased BBC documentary (those three words go together so often!) on Gnosticism and was inspired to write ‘Why God is a He’, looking to the Monologion of St. Anselm for the answer.

“St. Anselm has previously established that God is Spirit, not a body, and that it is therefore nonsensical to say that He is a man or a woman. He has also shown that it is reasonable to believe that God exists as Father and Son (the Holy Spirit will come later in the book). But, he asks, why Father and Son, rather than Mother and Daughter? Why not call them by feminine names?” Read on to find out.

I’ve uploaded the last eleven issues of The Mitre — “the quality student newspaper at the University of St Andrews” — before its demise after the Midsummer’s Day issue of 2005. The old Mitre website can be found here.

Unbuilt proposal for a Redemptorist church in Boston by Edward Welby Pugin, eldest son of Augustus Welby Northmore Pugin.

Germany’s new finance minister, Freiherr zu Guttenberg & his wife, Freifrau Stephanie.

Unmentioned by this editorial is that Baron zu Guttenberg’s grandfather (his mother’s father) was the late German winemaker & Croatian politician the Count of Vukovar. From the Count, Baron zu Guttenberg is descended from the noble house of Eltz, who are responsible for one of my favourite castles in the whole world, Burg Eltz, which once graced the 500-deutschmark note.

At the ripe age of 70, the Count of Vukovar took up arms in defence of the town of Vukovar during the Yugoslav Wars of 1991. The Count was elected to the Croatian parliament the following year as an independent, and served in that body until 1999, when he retired from politics. Nonetheless, the Croatian parliament persuaded him to accept honourary membership of parliament in his own right, in which role he continued until his death in 2006.

The Baron’s wife, meanwhile, is Stephanie, Countess of Bismarck-Schönhausen, great-great-granddaughter of the “Iron Chancellor”, Otto von Bismarck. A portent of this economics minister’s future?

The Cathedral Church of St. Mary (Scottish Episcopal), Edinburgh.

Nikolaus von Dumba, in the study of the Palais Dumba on the Ringstraße in Vienna. (more…)

WHAT DO THESE three coats of arms, their representations produced for the 1910 coronation, have in common? The first thing that might come to the mind of most of the heraldically-inclined is that all three are the arms of British dominions; from left to right, of Australia, Canada, and South Africa. Aside from this commonality, however, each of these three arms have been superseded.

The Australian arms above were granted in 1908, and superseded by a new grant in 1912, though the old arms survived on the Australian sixpenny piece as late as 1963. The kangaroo and emu were retained as the shield’s supporters in the new grant of arms which remains in use today.

The Confederation of Canada took place in 1867, but no arms were granted to the dominion so it used a shield with the arms of its four original provinces — Ontario, Québec, Nova Scotia, and New Brunswick — quartered. As the remaining colonies of British North America were admitted to Canada as provinces, their arms were added to the unofficial dominion arms, which became quite cumbersome as the number of provinces grew. A better-designed coat of arms was officially granted in 1921, and modified only slightly a number of times since then.

South Africa‘s heraldic achievement, meanwhile, was divided into quarters, each quarter representing one of the Union’s four provinces: the Cape of Good Hope, Natal, the Transvaal, and the Orange Free State. While South Africa is (like Scotland, England, Ireland, and Canada) one of the few countries to have an official heraldic authority — the Buro vir Heraldiek in Pretoria — the country’s new arms were designed by a graphic designer with little knowledge of the rules & traditions of heraldry. As a result, the design produced is unattractive and very unpopular, unlike the new South African national flag, introduced in 1994, which was designed by the State Herald, Frederick Brownell, which enjoys wide popularity and universal acceptance.

The current arms of Australia, Canada, and South Africa are represented below.

My computer, a splendid little MacBook, circa 2006 (and thus past its warranty), has started falling apart. I’m not joking! A little corner of the lower right-hand corner plastic casing has fallen off.

What’s more of a bother is that the click-button is malfunctioning. Half the times I single-click it, it interprets it as a double-, or sometimes even triple-click. This is getting REALLY REALLY irritating, and interfering in my general operations in countless ways. Imagine something that a single-click opens or closes: you single-click it, but the computer double-clicks it. So it’s opened for a nanosecond and then closed. Repeat six times until it decides to single-click. Molto molto irritante!

If there are any Apple genii who can solve this disconcerting click-problem, please let me know. Or, alternatively, some generous soul can purchase a new machine for me, and guarantee techno-happiness for your humble and obedient servant.

I’ve long suspected that most cars permanently inhabit the best parking spaces in Manhattan — their owners wary to leave them for fear of giving up that spot. But every now and then you get that spot. In my case, it’s through the intercession of St. Martin de Porres, who likes to make sure this altar-server makes it to St. Agnes next to Grand Central every Sunday with time to spare.

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