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A Question for Way of Beauty Readers

Last Supper Fra AngelicoRecently a reader contacted me with a question about Fra Angelico's fresco of the Last Supper. Is there a particular reason why some of the figures are kneeling and others not? And who is the female figure present? In answer to the first, I assumed that he was emphasising that the Last Supper is the Mass I don't know if there is any tradition that governs who knelt and who sat. (I find it interesting that Judas, with the black halo is kneeling in line.) I guessed that the lady present is Our Lady (or perhaps Mary Magdalene) but didn't really know. Ordinarily the names would be present (in accordance with the theology of Theodore the Studite from the 9th century). So this is an additional question: does anybody know who she is and also, do you know if Fra Angelico put the names of those portrayed somewhere as part of this painting? If not I would be interested to know why not as names are necessary to make an image worthy of veneration. I posed these questions on the New Liturgical Movement blog also, so I am curious to see how the answers of the two readerships varies!

 

I found two other Last Supper images by Fra Angelico. One has keeling figures. The Latin inscription gives the connection with the wording of the Mass (I'm at my limits on Latin here, so please correct/translate anyone who is inclined!). Neither has a female figure.

 

 

 

 

How Free Economics and Catholic Social Teaching Created an Economic Miracle

Wilhelm Röpke: Swiss Localist, Global Economist Cover Wilhelm Ropke: Swiss Localist, Global Economist by John Zmirak

I have been carrying out a little journey of investigation into the free economy and its compatibility with Catholic social teaching. I have concluded that the two are wholly compatible and despite the strongly held objections from some readers (this seems to be a subject that provokes strong reaction). The next question one might ask is how well does it work? In seeking and answer to this I looked to John Zmirak's excellent book about the Swiss economist Wilhelm Ropke 'perhaps one of the most unjustly neglected economists of the 20th century'.

Wilhelm Ropke was advisor to Ludwig Erhard the West Germany finance minister who engineered the 'economic miracle' after the Second World War. What Erhard introduced through a series of reforms enacted in 1948 was a free market system infused with the social values of Catholic social teaching. Most of the allies and economic experts assumed that free markets and capitalism had had their day and were advocating government controlled economic systems that owed much, still, to Marx. Politically there was no natural free market constituency so in a stroke of political genius, Erhard developed the phrase 'social market economy' to sell what he was doing to the German people.

Nevertheless, the conventional wisdom was convinced that this wouldn't succeed. As Zmirak reports: 'The eminent John Kenneth Galbraith wrote in 1948 (just after Erhard made his reforms) "There has never been the slightest possibility of getting German recovery by this wholesale repeal and it is quite possible that its reiteration has delayed German recovery. The question is not whether there must be planning, but whether that planning has been forthright and effective." '  Galbraith couldn't have been more wrong (and if ever we have evidence that in economics is a field in which reputations have nothing to do with the accuracy of predictions, this is it). The result of Erhard's reforms was as dramatic and economic resurgence as one could imagine is possible. While the population of one of the victors in the war elected a socialist government and was still living under wartime rationing of basic foodstuffs, Germany rose from the ashes. Within two years everything had changed dramatically.

As Zmirak tells us: 'Later Erhard praised Ropke for providing "to those trapped in socialist-collectivist thought...words of transformation, offering them once more firm ground under their feet and an inner faith in the value and blessings of freedom, justice and morality." By the end of his life in 1966, Ropke had become  a celebrity in his adopted Swiss homeland and a major figure within the American conservative intellectual revival.'

Some may be aware of Zmirak's other books - the 'Bad Catholic' series, light hearted and very funny examinations of Catholic culture. This book is very different. He describes everything in clear, precise and very readible prose that reinforces just how good a writer he is.

Buy the book here.

His website www.badcatholics.com is like not other I have ever seen. It includes several short video features that arise from the Zmirak imagination. Here is one entitled The Vatican Space Program...watch it yourself, I can't describe it.

http://www.youtube.com/watch?v=aUfhaSnuURQ

 

 

 

 

 

 

 

 

Certificate of Sacred Art Offered by Canadian University

SacredArtwithMartinhoSt. Mary's University College, which is an independent Catholic liberal arts university located in Calgary, Alberta, Canada is launching a Certificate in Sacred Arts. This is open to anyone. there are practical classes and lectures, but the emphasis appears to be learning through doing. Three of the teachers are known to me and cause me to recommend it. First Martinho Correia whom I met when I was studying in Florence is doing much of the organisation and is teaching the Western naturalistic tradition; second my own teacher Aidan Hart is teaching iconography and third Jed Gibbons who teaches illumination. Students have the choice of either taking a single workshop or registering for a series of workshops to qualify for the newly-created Certificate in the Sacred Arts – Foundations. The first courses being offered in 2013 include:

Methods of the Masters of the Western Sacred Art Tradition taught by Martinho Isidro Correia

The Foundations of Calligraphy taught by Renate Worthington

Iconography taught by Aidan Hart

The Art of Manuscript Illumination taught by Jed Gibbons

Stained Glass for Beginners taught by Jody Martin

Gregorian Chant Workshop taught by Malcolm Edwards

For a more detailed description of the courses see: www.stmu.ca/sacredarts

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Why Man Venerates Images of Angels, Even Though He is Higher than the Angels

st-john-of-damascusFrom John of Damascus's On the Divine Images It is uncanny how often this sort of thing happens: if you read the Fathers, Scripture or the Liturgy, I find that just when I'm thinking about something I discover a passage that has something to say about it. The psalms particularly are like this. The seem to speak to the human person wherever he is emotionally and offer thoughts on just about any aspect of life. I will read something I have read many times, but this time it is commenting on something in a way I had never noticed before.

This has just happened to me again. Some of you may remember a piece posted very recently in which I expressed surprise that Leo the Great should say that man is higher than the angels. Then just a few days ago I read a passage by St John of Damascus. I was reading the third of his three treatises On the Divine Images, which he wrote against iconoclasm in the 8th century. The general theme of these is to stress the importance of holy images in safeguarding the doctrine of the Incarnation. In this passage he is discussing the veneration of images of those who not God, the saints and angels.

angelHe wants to make the point that all worship is due to God, but there are degrees of worship that are appropriate in different situations. So we adore God directly, but through veneration of images of his saints and angels, we bring worship and honour to God. To illustrate begins by pointing out that scripture relates that when Daniel and Joshua each encountered angels, they fell down and worshipped before them. First, he says, they were not seeing the angels, because an angel is an invisible spirit. Rather, they were seeing an image of an angel; and when they worshipped, they were not worshipping the angel but giving honour to God by showing honour to his ministering spirits.  Similarly, he says, when we venerate images of the saints and angels, we are giving honour to God by honouring his friends. Furthermore, he says this fact that they are God's servants is the only reason that we would worship even an image of an angel, because we are higher than angels and such respect is not due an angel for itself.  Here is the passage quoted directly. It is his third treatise, section 26:

'Joshua, the son of Nun did not see the angel as he is by nature, but and image for an angel by nature is not visible to bodily eyes, yet he fell down and worshipped and Daniel did likewise. Yet an angel is a creature, a servant, a minister of God, but not God. And they fell down and worshipped before the angels, not as God, but as God's ministering spirits. Shall I not make images Rembrandt Danielof friends? Shall I not honour them, not as Gods, but as the images of God's friends? Neither Joshua nor Daniel worshipped the angels they saw as gods. Neither do I worship an image as God, but through the images of Christ and the Holy Theotokos and of the saints, I bring worship and honour to God, because of the reverence with which I honour his friends. God did not unite himself with angelic nature, but with human nature. God did not become and angel; he became a man by nature and in truth. For surely it is not with angels that he is concerned, but with the seed of Abraham. The person of the Son of God did not assume an angelic nature, but a human nature. The angels do not share in this; they do not become partakers of the divine nature. But by the operation of grace, men do share in and become partakers of the divine nature; as many of them as do receive the Holy Body of Christ and drink his Blood since his person is united with the Godhead, and the two nature of Christ's Body which we eat are inseparably joined in his person. We partake of both natures, of His Body physically, and of His divinity spiritually, or rather of each in both. We did not become the same person as he is for we also first exist as individual persons; only then can we be united by the comingling of His Body and Blood. Therefore, we are greater than the angels, provided that we guard this perfect union by faithfully observing the commandments. for our humble nature is far inferior to the angels, because of death, and the heaviness of the body, but because by God's good will it has been united to Him, human nature has become superior to the angels. The angels stand in fear and trembling before our own nature, for He has raised us up with Him and made us sit with Him in the heavenly places in Christ Jesus and they will stand b in fear at the judgement. Nowhere does Scripture say that they will sit together with us, or become partakers of the divine nature. '

joshua

 

 

Readers Give Information about Statues, Icons and the Eastern Tradition

Readers may remember that I have posted a couple of pieces recently featuring sacred images from the Russia that are statues (not relief carving, full 3-D images). As I mentioned, I had been under the impression that although they were not forbidden, that by tradition they were not produced and was surprised that the examples shown existed. I suggested that the reason they were discouraged was because it is difficult to produce a three-dimensional image that is consistent with the theology of sacred images as applied to the icon (for example, the deliberated elimination of space to suggest the heavenly realm). But I couldn't give much more information about their existence and place in the tradition of the Eastern Church.

I was happy to receive responses from two Orthodox Christians in regard to the attitude to statues in the East which are helpful, I think, and I reproduce them here.

 The first is from Bishop Jerome, Bishop of Manhattan of the Russian Orthodox Church Outside Russia and this seems to summarise the situation nicely. He says: "The reason that statues are avoided in the Orthodox Church (and in some of the Eastern Catholic Churches) is not that they were seen as "heretical", but as part of the struggle to overcome the iconoclasts. Prior to the iconoclastic controversy, there were bas-relief representations of holy figures in the East, and in Russia the iconoclasts seem not to have been as virulent as they were in Constantinople. Three-dimensional figures were used to some extent again in Russia in certain places, such as the cathedral of the Ss. Peter & Paul Fortress in St. Petersburg, here the Royal Gates were topped by a small statue, or in the dome of St.Isaac's cathedral where there are statues of Angels."

HodegetriaThe second made reference to an article published in a magazine published by an Orthodox church in Texas, Ember Tidings about statues in the Eastern Church, here (h/t Fr Anthony). This gives some history of the creation of statues, reinforcing the summary of the situation given above by Fr Jerome. It closes with the following point: 'The 1920’s discovered the Orthodox painted icon, the 1970’s the Orthodox statues. It appears the sometimes heated "two dimensional vs. three dimensional image" argument could be another example of culture intruding upon the faith.'

This second article brings up a couple of interesting thoughts. First, some of the examples that are shown in the pictures are of statues East and West. This shows clearly that the tradition of statues was well established early on and not always a minor part of the sacred imagery as it became later in the Eastern Church. It also reinforces one of the points made above. It does seem to me that a strict application of the theology of the icon as I have been taught it, would mitigate against the production of three-dimensional images. But the existence of a strong tradition of statues raises this question in my mind: if the statue which by its nature occupies three-dimensional space is permitted, does this mean that there ought to be greater freedom in 2-D images that create the illusion of space? Has anyone thought about this at all I wonder? Perhaps one could, for example, make the distinction between real 3-D space and illusional space critical in permitting statues? 

 

Pictures from top: the Good Shepherd, 3rd century from the catacombs; 10th century Contantinople; Our Lady of Monserrat, Spain, 12th century.

 

Why Diversity Leads to Conflict and Death

US-Diversity-Scores-Need-Help

A culture that promotes diversity celebrates differences, and ultimately leads to conflict and death; the antidote is Catholic culture which is universal. It celebrates the uniqueness of every person and what is common to each of us, so binding us in love.

Every society's culture is a reflection of its core beliefs and values. At the heart of this therefore is man's attitude to God and the most powerful factor in influencing this is worship.

This principle was articulated by the Church Fathers with the phrase lex orandi, lex credendi - rule of prayer, rule of faith. What this phrase of the Fathers is saying, as I understand it, is that man is made to worship God and how he does it affects everything else he believes and, in turn, what he does. If we wish to achieve cultural reform, therefore it seems, we should look first at our participation in the liturgy and strive for the ideal that the Church asks of us.

To the degree that man does not worship in the manner proscribed by the Church, then he will worship in another, lesser way; or else very likely he will worship something else. At this point his worship has deviated from some objective norm and now reflects, as much as forms, the beliefs of the person. Even those who think of themselves of having no religion will submit to principles and ideals that at the deepest level are just assumed, accepted on faith so to speak; and this instinct for worship will manifests itself somehow with customs and practices developing in accordance with them. Pope Emeritus Benedict XVI discusses this in his book, so often referred to in this blog, the Spirit of the Liturgy. To the degree that this instinct for worship is repressed or misdirected, then man is trying to negate something fundamental to him and the result is despair and a culture of disharmony and ugliness; and ultimately a culture of death.

If one had to name one idea that characterizes the formation of modern culture I think one of the first that would come to mind would be ‘diversity’. It is a word that, as it is often used, seems to encapsulate the relativism of the modern day. It is consistent with the personal philosophy of ‘I’ll let you do whatever you want to do...as long as it doesn’t interfere with me doing whatever I want to do’. In my experience, diversity is accepted as a good almost without question by many people.  And true to this instinct of worship, those who swear by it talk of ‘celebrating' it.

What is celebrated (for example at art fairs in which showcase artists from many of the world’s traditional cultures), we are told, is the variety of different cultures across the globe. I used to enjoy attending these events until at some point it struck me that they are as much an exercise in appeasing the consciences of those who attend as they are about promoting craftsmanship or art. Judging from conversations, attendees were mostly secular Westerners and it struck me that their interest in these other cultures was only superficial. By this outward sign of tolerance and broadmindedness towards others, they got a warm fuzzy feeling inside and hoped to justify to themselves their refusal to submit to authority in their personal lives. Certainly this is what motivated me when I was a secular Westerner before my conversion to Catholicism. The more I exercised tolerance and ‘non-judgmentalism’ in regard to others, the more I felt justified in rejecting any external authority in regard to my own conduct. I had earned the right of tolerance and non-judgmentalism from others and so could now do just what I wanted. What I didn’t realize until later was that in the end it wasn’t the opinions of others that I needed to worry about, it was my own conscience and that was something I couldn’t escape. Deep down part of me knew that I was doing wrong. As I once heard someone say, low self-esteem is a modern psychological phrase for what used to be call ed a guilty conscience. It was this acknowledgement of the truth deep inside me, which took hold gradually, that moved me first to guilt, despair and then to God.

It may be that I am being overly cynical here and judging people people by my own standards - i am sure that it part some people genuinely want to see the end of conflict by promoting tolerance between different societies and see this as a way of doing it. However, it is interesting that for all the talk of tolerance and diversity, this does not seem to extend, in my experience, to an unhesitating inclusion of Chritianity and especially the Church. The standard accusation levelled at the Church are the great secular sins of intolerance and ‘ judgmentalism’ (especially against women and homosexuals).

In fact, given their position, their desire to attack the Church is rational. It does stand up firmly against what they espouse, but not for the usual reasons the give. It does claim authority in moral matters and so will shine an unwanted spotlight on the consciences of those who act against them. The truth of what the Church stands for is evidenced by the fact that it's teaching makes people so uncomfortable. People are seeking to blame the Church for what their own consciences tell them. And the Church does believe in justice and judgment. However, the judge is just  judge, God; and this exrcise of justice is tempered of course, as its critics often neglect to point out, with love and mercy.

And in regard to culture, which is what we are considering here, it stands out squarely against the principle of diversity by asserting a principle of universality.

To my mind, the flaw in the idea of diversity is that it focuses on differences. Rather than bringing us together (which is the stated intention), this separates us from each other and leads to conflict. We see this in Britain where there are immigrant communities which so strongly preserve the culture of their original country that there are ghettos in which the assimilation into British culture has barely taken place. Successive generations do not appear to be integrating with British culture. Rather they are more separate from it and less inclined to assimilate than the generation of their parents who came here. In extreme cases and very sadly, some feel so alienated from the culture of Britain and so hostile to it that they have tried to bomb their host country out of existence.

The antidote to this is love, which recognizes the uniqueness of every person, and without compromising personal freedom binds us together in harmony. Accordingly, in the context of cultures what is important is not what differentiates us but what binds us together. These are the elements that are common to all of us. Or put another way, what is 'universal'.

As we know, the word 'catholic' means 'universal'. Just as Church teaching is appropriate for every person; so is Catholic culture. This will not suppress individuality, but encourage it to flourish properly in harmony with all others. A Catholic culture is the only culture that is truly universal. Others are in some way a reflection of a lesser account of the truth. Catholic culture, because it is universal, cuts out no one and appeals to everyone at a personal level. It accomodates the uniqueness of each person, but binds us together with what is common.

The problems of modern socitey are cultural. The antidote, to the culture of death (whether we think of abortion, contraception or exploding bombs) therefore is not political, but cultural. How do we change it. The long term answer to the the culture of death is a culture of life.  I have discussed this more in an article 'Universality, Noble Accessibility and  Pop Culture that Will Save the World'.

Universality is not the same as uniformity. A culture of uniformity obliterates the personal and demands a sterile conformity. In the universality of the Catholic culture, the general is always expressed through the particular but when it is an expression of what is universal in us, we can always recognize it and are attracted to it, even when it is not our own culture. This is its evangelising power. It is expressed perfectly in the traditions of Gregorian chant and the artistic traditions of the Church, for example  iconographic sacred art (as the oldest and best established form of liturgical art of the Church). Although there is great diversity within each tradition, much of it particular to times and places, the universal principles that define it are never compromised. If the culture of faith is rooted in these living liturgical forms of art and music then it will feed the wider culture in the same way and affect the way we live our ordinary lives. Then we will have something that speaks to others.

The way to avoid ghettos of the sort we see in the cities of Europe is to offer a Catholic culture, in the widest sense of the word, that attracts all. Without a culture of the Faith to offer to people, the alternative to diversity is uniformity, which is even less attractive. For uniformity stifles the spirit even more powerfully. When these immigrants looked at British culture, they were given the choice and they chose not to assimilate. They were not rejecting a Catholic culture, but a secular culture which was uniform, and ugly. In many respects it was less than what they already had. This is why every modern city, despite giving architects virtually a free range in choosing what they want to design, looks the same as every other. It is their very attempts to be different for what they manifest in following this impulse is disorder- there is no order outside God’s order, only disorder.

So what's the answer? I believe that in the long term it is cultural and not political. How do we achieve this. It starts at home. We must look to ourselves. The domestic church is the seat of culture. We focus on a piety that has the liturgy at its centre, and at home this means the liturgy of the hours. But at a personal level, which is the one over which I have most control, I can strive for a personal transformation by which in some small way I can participate in the transfigured light of Christ.  Because each person is in relation with those around them, even the most cloistered monk, they will effect change not through PR campaigns, but through the transforming influence of our personal relationships. We should not underestimate the power of this - we are told we are told that no one is more than six handshakes away from any other member of society. I have written at great length about the principles at work here. (In the article linked, I had in mind economic and cultural change, but the principle is exactly the same)

Lex orandi, lex credendi...I'm off to pray the Divine Office!

Thomas More College Choir Sings for the Extraordinary Form, First Sunday of Lent

nashua-2007-09-16Here are some recordings of what we sang. Last Sunday, the First Sunday in Lent, the Thomas More College choir sang at St Patrick's in Nashua, NH. We sang at the invitation of Fr Kerper, the pastor at St Patricks. The college has enjoyed a long connection with the parish, its longest standing chaplain, Fr Healey, is resident at the church. The Mass was composed by a German, Blasius Amon, in the 16th century - Missa Super 'Pour ung Plaisir'. Our director, Dr Thomas Larson, did his usual and put his cell down amongst us in the choir stall and came up with these recordings. I had never heard of Blasius Amon before Tom introduced this to the choir, but it is a great Mass for a choir to learn polphony on. Relatively simple, but still very good to listen to. I hope these recordings give a sense of it. As usual, remember this is an amateur choir recorded on a very simple piece of equipment. Below are the Sanctus, Benedictus and Agnus Dei from the Mass.

Sanctus

Benedictus

Agnus Dei

I would draw your attention also to the Communion antiphon and psalm mediation. The antiphon is in the traditional plainchant, in mode III, as proscribed. The psalm is sung to the harmonised mode III tone composed by myself and harmonised by our Composer-in-Residence, Paul Jernberg.

Communion

For the offertory mediation we sang the Stabat Mater Dolorosa. I don't have a recording of this, but we based what we did on a You Tube video I found of some Norwegian monks singing it and so I reproduce that for you. They have altered the rhythm slighly, as those who know it will hear immediately. Also, they have a gentle organum (drone) going on underneath. Tom and I listened to this and Tom recognised that at various points they had not just one, but two organum drones going on (very subtly applied). So this is how we sang it. We sang the first verse in unison, in the second with the tenors and some altos singing an organum note corresponding to the very first note of the melody. The third we introduced in additional bass organum drone on a note a fourth lower. Then we started the cycle again. This has a powerfully contemplative effect.

We very much hope that we might be asked back in the future!

http://www.youtube.com/watch?v=muJccdJJrwk

Illuminated Manuscript of King David, Painted by Me

I have just completed this painting of King David. It is based on the image that is in the Westminster Psalter, which dates from about 1200AD. The original is an illuminated manuscript, this is painted in egg tempera on high quality paper. You can see the original beneath. It is 11" x 7" (image without the border is 10" x 6' and so, like the original, in the ratio 5:3 which is one of the fundamental ratios used in gothic proportion corresponding the structure of the ideal man, according to St Augustine). It is also defines the harmonic interval of a sixth, which as I understand it, was not considered harmonic in medieval times, when the original was painted, but was during the common practice period of music (from the 17th century onwards). To was as much due to an improvement in tuning practices as to changing tastes, I am told. if this is so, it does reinforce the value of the ratio in my mind.

King david

 

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Is the Free Economy Really Free?

VeryserHarry Veryser's It Didn't Have to Be This Way: Why Boom and Bust is Unnecessary and How the Austrian School of Economics Breaks the Cycle (Culture of Enterprise) I recently posted  an article about Fr Robert Sirico's book in which he presented a moral case for the free economy, here. This provoked as strong a reaction as any I have posted. Many of the criticisms, it seemed to me, were aimed at views that we were assumed to hold (presumably because they imagine that everyone who was in favour of the free economy would think these things) even though it was not the case. For example, some suggested that Fr Sirico's book and my article were undermined by the fact that John Paul II and others have argued for a just wage. Nowhere did I, and to the best of my recollection nowhere in his book, neither did Fr Sirico say anything to undermine the principle of justice in general or  just wages in particular. In fact the opposite is true, right through the book it is apparent that the basic needs of the human person especially the poor are right at the forefront of Fr Sirico's concerns. Speaking for myself, I do not want to see unjust wages at all. Some seemed to suggest that there is an inherent contradiction between a just wage and the free economy and whether we knew it or not, acceptance of the free economy was a rejection of a just wage. I do not see any such contradiction. Neither, it appears, does John Paul II otherwise he would not state that both are necessary and in harmony with each other, in the same section of Centesimus Annus. 

I am happy to believe that I am wrong in this regard, and therefore misreading JPII. However, if I am to be convinced it would need someone to explain in more detail

Another criticism made was that the free economy 'is not free'. This assertion was based upon the fact that some advocates of the free markets, such as Milton Freedman, had a post-Enlightenment and therefore a flawed understanding of what freedom is. The question that arises is this:  is this flawed understanding of freedom intrinsic to the free economy? Or, put another way, does one have to have the post-Enlightenment understanding of freedom in order to be able to explain the free economy?

This would be a fair criticism if the economy was something created by those describing it. I see the economy as something not governed by a set of rules that are created by man, but an order that emerges spontaneously when there is a network of personal interactions. It is something that contains truths to be discovered rather than being a system that can be established made to behave in a particular way with rules set by economists or governments.

In advocating it, there is an assumption made: that a spontaneous order appears as a result of many personal interactions and that it does not need any human organisation (such as government) to direct it, except to protect personal freedom, private property, stable currency and efficient public services. This is the role of the state in regard to economics  - to guarantee this security (not that this is the only prerequisite - the development of a free market depends upon the culture too for example). I do not see that true freedom, according to the traditional understanding, is ever in opposition to the principles of justice. Therefore the protection of freedom will also help to ensure justice (including a just wage).

The free economy is one in which there is a place for the family, community, charitable action and institutions; it is in accord with the principles of subsidiarity and the common good. This is because when people act in freedom all of these things flourish naturally within society.

In observing how the economy works, the understanding of freedom the observer holds is irrelevant and provided we believe that the source is accurate in other respects we can learn much from an such accounts of the economy even from people whose worldview is diametrically opposed to our own (by all accounts Carl Marx was one of the best economists of his time). When it comes to consideration of what will happen in the future, we should be more careful, for no present situation is precisely the same as any in the past and there will always be an element of judgment - and this will be affected by how we believe people. One should use judgment but on the whole general descriptions of what will happen in the future (such as might appear in a basic economics text book), based upon good observation on the past will helpful whatever the source, I suggest.

Consideration of what one ought to do in terms of economic policy is going a step further still: I would look here to someone who both understands deeply how the economy works, and shares the commitment to Catholic social teaching. Even then, even if the economist does not share this view but, other things being equal, the outcome he desires is in accord with CST, I would still listen to his proposal about how to achieve it.

In regard to freedom: those who understand what freedom really is, therefore, will be best set to understand and explain this order and are those whom I am most likely to trust in taking advice about what to do (although to my mind this does not mean that all others are completely useless as I have suggested). I take freedom to be that as defined in Catechism: the power, rooted in reason and will, to act or not to act, to do this or that, and so to perform deliberate actions on one's own responsibility. By free will one shapes one's own life. Human freedom is a force for growth and maturity in truth and goodness; it attains its perfection when directed toward God, our beatitude: this could be summarised as: 'the capacity to choose the practical best'.

I have just read Harry Veryser's book It Didn't Have to be This Way - Why Boom and Bust is Unnecesary. Here is an account of the free economy in which the author is a committed Catholic who understands Catholic social teaching and explains how the two are compatible. One does not have to agree with Austrian economics if one is a Catholic, of course -  I am not suggesting that Austrian economics is the only account of economics that is in accord with Catholic social teaching. Rather, just as with Fr Sirico's book, a fresh set of criticisms that scrutinize the economics rather than adherence to Catholic teaching will have to be produced in order to undermine what he says. Certainly, one cannot criticise it on the basis of what Milton Friedman says, for Veryser differs from him and the Chicago school in a number of respects.

Verysers explanations are clear and readable and well worth reading for someone like me who is just starting to get to grips with all of this stuff.

In addressing the issue of the common good and the idea that a narrowly defined concept of self-interest governs the economy he writes the following:

'Critics of free-market economics might scoff at associating free markets with the common good. Since the time of the Enlightenment, a powerful (but controversial) strain of economic thought has held that rational self-interest governs all economic activity. Adam Smith put forward this idea in the Wealth of Nations, where he wrote: "It is not from the benevolence of the butcher, the brewer, or the baker, that we expect  our dinner, but from their regard to their self-interest. we address ourselves, not to their humanity but to their self-love, and never talk to them of our own necessities but of their advantages."  Adherents of the classical school carried forth this idea in the nineteenth century, and more recently Ayn Rand, Milton Friedman and many secular libertarians have popularized the concept of rational self-interest. The Austrian School is different, however. From the start, Austrian economists have challenged the idea that rational self-interest drives all economics...The Austrian school also recognises that the concept of rational self-interest became a barrier to thoughtful discussion of economics. Almost from the beginning critics used the notion of self-interest to pillory the field of economics. Clergymen, social critics and many others derided economics as the science of greed. Even with the profession, more and more people came to see economics as a science dealing strictly with material wealth, which in turn lead to an overemphasis on mathematical measurement.' [p188]

'The concept of self-interest comes up short in explaining how economic decisions are made because as 'Austrians (and many others) have pointed out, the perspective is overly narrow. It fails to account for charitable instincts, decisions made to benefit one's family or community, and other factors that inform human action. The focus on self-interest also obscures the true role and ambition of economics. It helped lead to a strictly mathematical approach to economics. Such an approach attempts to apply methods from theoretical sciences, which study things over which we have no control (such as the motion of the planets and the structure of the atom) to the study of human action - those things that we can control. Pablo Triana in his book Lecturing Birds on Flying, identifies a key cause of the recent financial crisis: "our blind devotion to theoretical concoctions (especially if sponsored by rigorous-looking individuals with PhDs from prestigious universities.)" Triana notes simply: "The math had its chance, and couldn't have gone any wronger." ' [p199]

Veryser

 

Some English Coptic Icons

Here are some neo-Coptic icons  at the Coptic Cathedral of St George at Stevenage in England.

I discovered this by trying to get hold of pictures of art by an English-Egyptian icon painter called Fadi Mikhail. He trained at the Slade art school in London and then did an apprenticeship with an icon painter in California, called Isaac Fanous. His website is here. I would have included more pictures of his work, but his website doesn't allow me to copy and save the images. Here's a tip for artists out there. You may worry about people making use of images by barring the copying, but you also stop people who are very happy to promote your work from doing so effectively! i think that in the end the artist loses more than he gains by doing this. So in the end I took some examples from the cathedral website. But Fadi, if you're reading, I like your work and would have happily featured more if I could have done!

 

 

 

 

I love the loose but well directed brush work in this one above

 

 

Are We Higher than the Angels and Archangels?

David and St. Michael-21It may seem an impertinence to say so, but Pope Leo the Great seems to think so Catholics are used to the idea that Our Lady is higher than the angels, but is it true for the rest of us? Here is what Pope Leo the Great has to say on the matter. It was surprising to me.

‘The blessed apostles together with all the others had been intimidated by the catastrophe of the cross, and their faith in the resurrection had been uncertain; but now they were so strengthened by the evident truth that when their Lord ascended into heaven, far from feeling any sadness, they were filled with great joy. Indeed that blessed company had a great and inexpressible cause for joy when it saw man’s nature rising above the dignity of the whole heavenly creation, above the ranks of angels, above the exalted status of archangels. Nor would there be any limit to its upward course until humanity was admitted to a seat at the right hand of the eternal Father, to be enthroned at last in the glory of him to whose nature it was wedded in the person of the Son.’ [Excerpt from a sermon by Pope Saint Leo the Great (Sermo 1 de Ascensione, 2-4: PL 54, 305-396) taken from the Office of Readings for Wednesday of the Sixth week of Easter]

If I am understanding this correctly then he is say we can be by grace  at our final end in heaven be raised up as high as it possible to be, seated next to the Son, participating in mystery of the Trinity. The Ascension of the Lord was a sign that man's nature is to divine, although he cannot realise this by his own efforts, hence the need for God's grace. This is an extraordinary privilege.

St. Maximos the Confessor described this as a  “total participation in Jesus Christ.” and said "A sure warrant for looking forward with hope to deification of human nature is provided by the incarnation of God, which makes man god to the same degree as God himself became man.... Let us become the image of the one whole God, bearing nothing earthly in ourselves, so that we may consort with God and become gods, receiving from God our existence as gods. For it is clear that He who became man without sin (cf. Heb. 4:15) will divinize human nature without changing it into the divine nature, and will raise it up for his own sake to the same degree as He lowered himself for man's sake.' (page 178 in the Philokalia, Vol II).

He also said that we will be “All that God is, except for an identity in being, one becomes when one is deified by grace.”

The one question that remains, then for us to think that we can be greater than the angels is this - is the same privilege offered to the angels too? If not, then it seems that we are by nature, greater than the angels (although in are fallen state in this life we are less than them!).

 Comments from expert theologians please!

ST Michael.chirst

 

Is there room on that seat there for 6 billion more? The answer may well be yes! Christ is is seated in majesty, centre, 'at the right hand' of the Father.

DSC_6062

 

The Beauty (and Apparent Ugliness!) of the Human Form

Francis Bacon - Portrait of Lucian Freud on Orange Couch 1965If every person is beautiful by virtue of being human, why do some people look ugly to me? (And presumably I look ugly to some people too!) We know objectively that man is the most beautiful of God’s creatures. Every person is beautiful by virtue of being human. Yet, we don’t always see this. We can look around us and we see people whom we think are ugly, (although we might hesitate to tell anyone so). Just as with the recognition of all beauty, the lack here is in the one who looks, who cannot see all people around him as they really are, because he lacks love.

Some however reconcile this by looking for two beauties within each person, one physical and the other spiritual. Those who do so would say that if the physical beauty is lacking it is because there is a spiritual beauty that is invisible and it is this that we miss. I feel that this explanation creates a dualism – a separation of body and soul – that is wrong. As I see it, there is no inner beauty that is in contradiction with the outer ugliness; neither is there the converse an outer beauty that masks the inner ugliness. This duality is a fiction. That is not to say that there very often does appear to be such a disparity as in Oscar Wilde’s character Dorian Grey. Rather, that if this is the appearance, we know that the lack is our ability to see or our judgment of the sanctity of the person. The beauty is there in the whole person, body and soul and every person is physically beautiful. We do not see it we must look at ourselves and consider our own lack in love for that person.

oscar_wilde-picture_of_dorian_grayWhen most people talk of beauty in connection with people, they are most likely to be considering sexually attractiveness. Even if we talk of those we are not sexually attracted to, we tend to make the judgment against these criteria. So I might talk of a handsome man. This does not mean that I find him sexually attractive, but that I think that women will. If I talk to those who are much younger than me or much older than me as pretty or handsome, I am usually doing so not in the context of how they appear now, but how they may in the future, or might have been in the past at their most attractive age. For example, with older people I imagine them as they were when at a younger marriageable age.

However, in the ideal I would not consider anyone in this way at all. Only one person, in a perfect world, would appear sexually attractive to me, and that is my wife, whom God intends for me to see in this way. For me to see anyone but her  in this way must involve a selfish non-loving component for it is based upon a desire to do something that is morally wrong.

There is a different love. This is one that looks with the same loving eyes with which a mother looks at her baby. I wrote recently how it has often struck me how often mothers will tell me, without a trace of irony, that their baby is the most beautiful that there is. I remember once chuckling in response and replying: ‘Yes, but every mother says that about her baby.’ ‘That’s true,’ said this mother and she said (without a trace of irony) ‘but my baby really is the most beautiful in the world.’

In fact, the mother is the one who sees this person fully. The fact that I don’t and that the mother doesn’t see everyone as beautiful as her baby is a reflection of a lack of love in respect to all other people. God sees every single one of us with the eyes of love even greater than those that a mother has for her child.

That is not to say that artists do not reveal invisible realities through a visible medium. Icons partially abstract the figure in order to do just that. The point is that these realities would be visible to all if observer and observed were both redeemed. But a painting that shows a distorted ugly human figure portrayed in a painting is not a move towards an inner reality (as an

The artist has a responsibility to represent people so that it inspires a genuinely loving response in the viewer. Consistent with this, when I was learning portrait painting in Florence my teacher always encouraged me to paint people in their best light: ‘Err towards virtue rather than vice,’ he used to say.

Portraits by Francis Bacon (British 20th century), repeated below; George Romney (18th century); Velazquez.

7624_o_george_romney_portrait

 

Francis Bacon - Portrait of Lucian Freud on Orange Couch 1965

a-spanish-gentleman-jos-nieto-chamberlain-to-queen-mariana-of-austria-wife-of-philip-iv-1635

More Russian Statues

Assembly of ArchangelsI recently posted an article about Russian statuettes of saints at the Museum of Russian Icons. I discussed how surprised I was to see statues in Russia. Generally the iconographic tradition doesn't allow for anything more than relief sculpture. In response to this a reader sent me information about a collection of much larger and more three-dimensional statues that is in the city of Perm in the Urals. I was fascinated by these and posted. They seem to date from 16th, 17th and 18th centuries and have the look of Western gothic imagery. The link through to the museum is here. Once again I can't really explain these and suspect that Russian iconographers of the strict observance would feel that these are not genuinely worthy of veneration.  

Christ imprisoned

 Christ imprisoned

Crucifix

St.Russian

St Nicolas Mozhaisky

Assembly of Archangels

 

 

 

What Teaches Wisdom - Poetry, Clear Prose or Beautiful Art and Music?

 love of learningAn education in truths that cannot be expressed in words  In his book, the Love of Learning and the Desire for God, Jean Leclerq describes various tensions playing out in education in the medieval period.

One arises from the love of beautiful literature, poetic or prosaic, that is not explicitly sacred. The danger is that at some point the beauty of these works is so compelling that it hampers the spiritual development of the individual, because ‘Virgil might outshine Holy Scripture in the monk’s esteem because of the perfection of his style’[1]. A properly ordered asceticism in this area consisted in a harmonization of sources and sometimes the more humbly written simple prose divinely inspired Scripture is necessary for us so that we focus on the beauty of what it directs us to, he says.

The second tension that Leclercq describes relates to the study of logic, or sometimes called dialectic, which is another of the first three liberal arts that together comprise the trivium. As such it requires an understanding the technical language of logic. It is necessary in order to study philosophy and theology. The difference arose between two different sorts of school, the monastic and the town scholastic schools. The word scholastic is derived from the Latin word meaning ‘school’ and is applied to distinguish it from the monastic setting.

One the one hand is the more traditional monastic school that is more literary, drawing on Biblical language and traditional literary forms.

The monastic schools of the medieval period recognized the value of dialectic, but were suspicious of scholastic Schools in which there was a tendency, they felt, for dialectics to dominated to the detriment of the other liberal arts, and especially those concerned with the beautiful expression of what is true and good. As Leclercq puts it: ‘ The Scholastics were concerned with achieving clarity. Consequently they readily make use of abstract terms, and never hesitate to forge new words which St Bernard [as an example of an authority from the monastic school] for his part avoids. Not that he refuses to use the philosophical terminology which through Boethius had come down from Aristotle…but for him this terminology is never more that a vocabulary for emergency use and does not supplant the bibilical vocabulary. The one he customarily uses remains, like the Bible’s, essentially poetic. His language is consistently more literary than that of the School.’

And in the use of this traditional technical vocabulary there also exists a certain diversity: each monastic author chooses from the Bible and the Fathers his favourite expressions and gives them the shade of meaning he prefers. Within the overall unity there remains a variety which is characteristic of a living culture.’[2]

The strength of this is great flexibility is a noble accessibility and beauty that opens the door and draws in the ordinary reader to receive the wonders they describe; the weakness is its technical imprecision so that it can be ambiguous and this leads to a greater possibility of misinterpretation.

Those seeking to offer a Catholic education today are likely to draw on both the monastic and scholastic influences. Even in the few Catholic ‘Great Books’ programmes that exist today we can see how a polarization might develop, some favouring either poetic knowledge on the one hand or of a formal Thomistic training on the other. This needn’t be so. As a general principle, I suggest, the way to avoid extremes of an over emphasis on the poetic form on one hand and an overemphasis on dialectic on the other is to make prayer and the liturgy the central, harmonizing principle of the life of the student and professor alike, whether monastic or scholastic. This is something more than encouraging participation in the liturgy. It is making the participation in the liturgy the guiding principle in what and how we learn and teach. The students should understand clearly how everything that they learn is done in order to deepen our participation in the liturgy. In this regard, the liturgy of the hours is a crucial presence, I suggest. Then the praying of the liturgy will in turn illuminate the lessons learnt in the classroom.

In light of this I suggest there are aspects of education that are neglected in Leclercq’s account. He focuses almost exclusively on communication by language. I wonder if this is too narrow a vision. The teaching of truth expressed linguistically is the most important part of study, but it should not be emphasized in a way that excludes the visual and musical. A formal study of perceptible beauty, especially visual and auditory aspects of harmony, proportion and order is in the traditional study of the quadrivium. St Augustine[3] spoke of how the beauty of the form says things that words cannot.

There are levels of understanding that cannot be said in words alone, even poetic words, that can only be communicated visually or through words when they are sung beautifully. Any lover of holy icons would say the same, I suggest, in regard to visual beauty. Giving ourselves a beautiful visual focus for our prayer, especially Out Lady, the suffering Christ and the face of Our Lord is important in this regard.

Liturgy is the place where all of this can be synthesized and one is immersed in God's wisdom and this, deep in the heart of the person, is where we form the culture.


[1] Ibid, p124

[2] Ibid, p201

[3] St Augustine, On Psalm 32, Sermon 1, 7-8; quoted in the Office of Readings for the Feast of St Cecilia, November 22nd

love of learning

 

Beauty Communicates Something That Words Cannot

A case for making an education in beauty with the liturgy at its heart part of everybody's education I was intrigued by the following passage written by St Augustine in which he talks of communication of truth beyond words. What he is describing is how the beauty of expression in a full integration of form and content adds something that words alone cannot say. As an expression rooted in love it is the fullest form of truth. He is talking specifically about music, but what he says applies just as much, it occurs to me, to sacred art and architecture. Their beauty speaks to us of something that words cannot say. The painting of a saint or of the key truths of a feast speaks to us through the harmonious relationships between its parts, by gesture and expression of figures portrayed, for example.

It occurs to me that this communication goes both ways. So not only is beautiful liturgy the fullest way of communicating in love our praise for God, when that beauty is integrated with it in liturgical music and art it is teaching us as we pray, at the deepest level, the truths that are contained within.

This is something that educators should note, I suggest. If what Augustine says it true, then the wisdom that is the goal of education  cannot be offered by book study alone but only by placing it in the context of a liturgical life for there is much to learn that is 'beyond words'. It is an argument, I suggest for putting a practical education in beauty, with participation in the liturgy as its foundation, at the core of everyone's education.

Here is St Augustine's quotation:

‘Will you ever, do you think, that you need know no fear of jarring on the perfect listener’s ear? This is the way of singing God gives you; do not search for words. You cannot express in words the sentiments which please God: so praise Him with your jubilant singing. This is fine praise of God, when you sing with jubilation. You ask, ‘What is singing with jubilation?’ It means to realize that words are not enough to espress what we are singing in our hearts. At the harvest, in the vineyard, whenever men must labour hard, they begin with songs whose words express their joy. But when their joy brims over and words are not enough, they abandon even this coherence and give themselves up to the sheer sound of singing. What is this jubilation, this exultant song? It is the melody that means that our hearts are bursting with feelings that words cannot express. And to whom does this jubilation most belong? Surely to God who is unutterable. And does not unutterable mean what cannot be uttered? If words will not come and you may not remain silent, what else can you do but let the melody soar? What else when the rejoicing heart has now words and the immensity of your joys will not be imprisoned in speech? What else but “sing out with jubilation”?’

St Augustine, On Psalm 32, Sermon 1, 7-8; quoted in the Office of Readings for the Feast of St Cecilia, November 22nd

My New Icon Corner

2013-01-12_18-56-38_612I have recently created an icon corner in my home as a focus for  prayer. I try to sing the Liturgy of the Hours every day. We didn't have a lot of room and the place I live in is rented and I am not allowed to bang nails into the wall - which means I can't hang many or heavy pictures. So I had to keep it simple. The bare bones of an icon corner is a cross with the suffering Christ at the centre, a picture of Our Lady on the left and a face of Christ on the right. I have added to it St Isaias and St John the Baptist. I have tried to arrange them so that each is through the line of vision pointing to Our Lady who in turn is presenting to us  her Son. John as the closest in time and the greatest man born of woman apart from Our Lord is placed closest

I have put a little print of the Sacred Heart of Jesus there too. At the end of every Hour that I pray as a personal devotion I always invoke the Sacred Heart and ask for mercy. On the horizontal surface I have a St Benedict medal and a little container with some relics that were given to me when I was confirmed at Farm St Church in London.

I have tried to make this the most brightly coloured part of the room so that it is the main visual focus when you walk in. The other paintings in the room are not religious but I have deliberately chosen them, for example the landscape shown which is an Andrew Wyeth print, so that the colour is muted and it will never distract from the saints. This is consistent with the way that an artist organises the composition of a painting - the main foci are coloured and the supporting parts are less detailed and less brightly coloured.

corner5

 

2013-01-12_18-56-48_945 (1)

 corner2

 This was a print of a watercolour landscape by Andrew Wyeth that I found in a consignment store framed. It only cost me $5!

corner1

 I chose it because it used mute colours (consistent with the baroque style even though Andrew Wyeth is a modern painter - he died a couple of years ago).

 

Economics and Culture - Catholic Social Teaching, Taxes and Art!

What should I read to understand this? In my last posting I suggested that I think that social and economic conditions need not be such an influential factor on the culture as some suggest. My sense is that the form of the liturgy and the liturgical forms being produced now that are the driving force for a wider culture of beauty...or of ugliness. I am not a trained economist and so have tried to do some reading recently to try to understand more how this might work. It is important to try to understand this. If we want to create a culture of beauty for the New Evangelisation then we need to understand what influences culture and how in order to try to redress the balance today. furthermore, anyone who wishes the production of beautiful art to be a vibrant force in the modern world must, I suggest, try to understand how this can be funded. Should it be left to free market forces? Or should we seek to subsidize favoured artists for the good of society? I thought I would pass on where my reading has taken me.

It seemed to me that there are two things that I need to have clear in my mind in trying to understand this field. The first is what is the just society that we are seeking to move towards. There are many aspects of what this might be, but in terms of social conditions the encyclicals of the Church of the last 120 years seem most applicable. Rerum Novarum was my starting point. This was written in 1891 by Pope Leo XIII. Then I focussed on the following: Quadragesimo Ano written by Pope Pius XI to mark the fortieth anniversary of the first. Then I skipped forward to the encyclicals of John Paul II: Laborem Exigens, Solicitudino Rei Socialis and Centesimus Annus. After that the recent encyclical by Pope Benedict XVI seemed to have much to say that was relevant. Another aspect in trying to understand this,  is to try to see historically what the social conditions were like that the Popes were commenting on. I am just starting here, but I have recently read T S Ashton's The Industrial Revolution, 1760-1830

The second thing is to try to understand how to get there. In order to do that I must, it seems to me, try to understand something about economics. My starting point is a book by the economist Thomas Sowell called Basic Economics. I have just finished reading this. First thing to say is that I don't know how he does it, but this is an economics textbook, intended for use by university students as an introduction, but it is entertaining and throughout. Thomas Sowell explains clearly and easily what controls the generation of wealth and its distribution, whether it is in a market economy or a government controlled economy, the same principles apply (although obviously their application is very different in each case). He points out where moral decisions are to be made, but does not attempt to answer those questions for you, his goal is to show you how the economic choices made are likely to achieve the end desired. So Catholics would want to read Catholic social teaching as well so as to direct our picture of a just society. Sowell tests hypotheses with statistical data, so answering questions such as: does a lowering taxes in increase tax revenue or reduce it? He points out common errors used in economic argument such as equating the justice of a policy with its intended effect rather than what it actually causes (rent control policies  and the detrimental effects that they have on the availability of housing for the poor being one example he discusses; he talks of the error of looking at the economy as a zero-sum game in which economic policies seek to redistribute a finite pot of money, rather than being aware also that policies can affect the creation of wealth for all and increase the size of the pot for all involved, both rich and poor. He discusses the true causes of the 1930s depression and the current financial crisis and in the case of the Great Depression, the reasons that it ended (very surprising and exactly the opposite of what I thought in every aspect). He discusses error of assuming that all the economy behaves as one small part - this leads to policies that protect certain groups of workers or employers, but neglect the effect - usually much more detrimental overall - on others with the community as a whole. he calls this the 'fallacy of composition'. On each occasion he details the intentions of any stated policy, the actual effect with reference to statistical data. I found a real eye-opener and much of what he says overturns many of the assumptions I have made about how economics works for most of my adult life. I wholeheartedly recommended it.

I have put an interview with Mr Sowell in which he discusses this book, which is YouTube below. He is as entertaining in interview as his writing.

And finally, here is a book I haven't read yet, although I am about to start. It is It Didn't Have to Be This Way: Why Boom and Bust is Unnecessary - and How the Austrian School of Economics Breaks the Cycle (Culture of Enterprise)This is written by Harry Veryser who has taught economics at Thomas More College. He is currently runs the Master program in Economics at the University of Detroit. I am interested in this book particularly because here we have an economist who understands economics deeply, and who is a devout Catholic interested in a just society. I will keep you posted!

C. http://www.youtube.com/watch?v=bOMksnSaAJ4

Does Mass Production and Industrialisation Automatically Mean Ugliness?

A look at British china and porcelain from the 18th and 19th centuries might suggest otherwise Since the period of the industrial revolution in the mid-17th century and in the 19th century when it took hold in society, I would contend along with quite a few other I think, that the culture has generally been in decline. But does this mean that the first is the cause or even a contributing factor to the decline? It is assumed by many to be the case, and we do, in my opinion, see clear signs of a decline in some areas of the culture at this time (especially so in the case of liturgical art and music). But I am not convinced that mass production or industrialisation are primary causal factors. I have always felt that the underlying design is the most important factor in the beauty of objects. There is nothing inherently less mass-producable or expensive about beautiful design. Beauty and elegance in design can be as cheap as ugliness. If we had designers who understood how to create beautiful objects, then mass production allows for the creation of lots of beautiful and affordable objects. This is a good thing, isn't it? Of course, if designers create ugliness, then mass production will churn lots of ugly objects of the production line too, without being the cause of it.

Also, just because two events, the increase in mass production and the decline in some parts of the culture coincide, it doesn't mean that one causes the other. Correlation does automatically mean cause and in this case, the correlation doesn't seem to me to to be as strong as one might at first suspect. 

In his book the Spirit of the Liturgy Pope Benedict XVI talks of a break between the culture of faith and the wider culture. The question is which declined first and which is the most powerful influence on that decline? In my assessment, it is the liturgy that is the primary influence on the culture of faith, and without a Catholic culture of faith

If industrialisation and mass production were the primary causes, (or more generally economic and social conditions) one would expect the negative effects since the 18th century to be most pronounced when the laissez faire, liberal economics were are their most present, which is this period of the 18th and especially the 19th century. However, that is not what I see. The mundane art and music of the period is still strong in many respects and it was not even uniformly bad yet in the realm of the sacred - sacred architecture flowered in the forms pioneered by the English Catholic convert WA Pugin. The general picture seems to be one of a slow decay in the liturgical forms first, with the wider culture following later.

The period when the decline of culture really accelerated is not this period, but the one following it, the 20th century. Traditional ideas of proportion and harmony were not finally and universally rejected in architecture until after the Second World War, for example. Yet in the 20th century, economic and social conditions improved and the supposed excesses of the capitalist system were curtailed by regulation in the West. 

A look at some mass produced objects of the period would help of course. Recently I was reading TS Ashton's economic history of the period The Industrial Revolution (Oxford University Press, 1968). He remarks at one point that the Wedgwood and Spode factories were founded in the 18th century and produced china and porcelain right through this period. So here I give you pottery from the factories of Wedgwood and Spode. This are made in Staffordshire in England and the factories are situated in the Midlands, right at the heart of where the British industrial revolution took place.

You can decide for yourself. Do you think they are ugly mass produced objects? If we think they are beautiful this suggests that mass production is not inherently bad. Given the improvements in the techniques of mass production, one would expect that degree to which a product reflects faithfully the original design is even greater than it was at this time. 

It is worth making the point also that Ashton discusses at length the living and working conditions of the poor during this period and compares them with the period before - the early 17th century and the 16th century. It is interesting that in his assessment things generally improved. He makes the point that although there were poor working and living conditions by today's standards, they weren't uniformly poor, and says that workers houses were as likely to be well made and well proportioned as not. Also he notes that people at the time were quick to respond to injustice and so laws protecting the conditions of workers were introduced from the early 19th century onwards. We should have a look at the workers cottages that were made in Britain at the time. There are plenty of Victorian terraces which are now sought after places for the well to do in the best parts of town - for example in Chelsea and Fulham. But that is another blog posting for the future.

Here is some china for you. When I was young, my parents had a period when they collected antique china and porcelain from this period and seeing the Spode particularly reminds of me china they used to possess. These works have passed the test of time for beauty that I always like to apply in trying to assess the beauty of, for example, a work of art. Has it transcended its own time? Do people today still see this a good and beautiful or is appreciation of it subject to the vagaries of fashion and so only temporary? The antique markets of the world suggest the former.

Photgraphs from top: Wedgewood designed by Lady Templeton, c1790-1800; Spode mid-19th century; Wedgewood vase, 1790; Spode vase 17th century; Spode 19th century plate.

 

 

 

 

A Wedding in the Chapel at Thomas More College, Merrimack, New Hampshire

I recently attended a wedding at the chapel of Thomas More College. The bride was stunningly beautiful, the music was sublime, the art was gorgeous. I probably should declare at this point that my opinion on this matter is not wholly impartial: the art was my own;  the programe for the music was devised by my good friend Dr Tom Larson (who teaches the choir at TMC), who also lead the singing. The Ordinaries for the Mass were composed by another great friend Paul Jernberg, who was also singing in the choir. The propers were the  simple English propers for a Nuptial Mass composed by someone called Adam Bartlett (who I don't know and who wasn't at the wedding). I had not listened to these before, but they are in my inexpert opinion excellent. The psalm tones for the accompanying meditations were composed by myself and were chosen so that the mode matched that of each proper and these were harmonised into 4-part harmonies by Paul Jernberg (see examples here).We had an additional meditation for the incensing of the bride and groom. The celebrant was my friend Fr Roger Boucher who as ever said Mass with great dignity and reverence. (His name may be familiar to some of you: I have written a couple of articles about his farm in rural New Hampshire and more recently our working together in bringing the liturgy of the hours to the US veterans' hospital in Manchester, New Hampshire.) In addition we closed with the St Michael Prayer  (a traditional Byzantine tone arranged by Paul with a little contribution from myself) and then the Te Deum sung in four-part harmonies, which is traditional Anglican chant. (The Jernberg Mass Ordinaries can be found at this website, here.)

Here was a novus ordo Mass in English with most of music composed within the last couple of years. The language now, with the new translation, is dignified and elegant and befitting of high quality music. Because all had the timeless qualities of chant there was integration that gave it a sense of a unified whole. Even the insertion of one much older piece in Latin - 16th century polyphonic version of the Ave Maria written by Victoria for when flowers were taken to the statue of Our Lady added a heightened comtemplative element but it did not seem out of place with the general tenor.

Even the beautiful flowers were arranged by another friend, Nancy Feeman, who has written gardening articles for this blog in the past.

Oh and one further detail, the lucky groom was ...me. Yes, it was my own wedding. No one was more surprised that me to find myself walking up the aisle at my advanced age, but here we are. I met Edna about four years ago on a return trip to England at the London Oratory summer fete. I handed my number to her and said, 'If you are ever in the US please do look me up.'  Three years later, she did.

For those who like this sort of thing I have included some photos. In the first one below you can see Fr Boucher, Edna and I, Bess the maid of hour holding flowers and the choir is beyond, all crammed into the tiny chapel.

and later at the reception...

As a friend said on seeing this photo: happiness is having a bride on one arm and a banjo on the other. Unless you're an old style mormon in which case it's having a bride on each arm...or an Appalachian, in which case its having a banjo on each arm! (h/t Simon Ramage)

 

The Feast of Mary, Mother of God

Today is the Solemnity of Mary, Mother of God. I offer two paintings for consideration. The first is Italian baroque from the 17th century. The artist is called Sassoferratu. It is in the National Gallery in London. I regularly used to pass the gallery on my way home from work and used to go in and look at paintings sometimes for just 15 minutes - this is possible when you don't have to pay to get in. Long before I ever converted to Catholicism I was drawn to this particular painting which I found strikingly beautiful. The serene expression of the Virgin was a source of great delight to me.

The second is an icon painted by myself (based upon a Greek prototype) highlighted the personal relationship between Mother and Son.

Have a wonderful Feast day!