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Wednesday, November 14, 2007

Chatterton

Henry Wallis 1830-1916
Chatterton 1856
Oil on canvas
support: 622 x 933 mm frame: 905 x 1205 x 132 mm; 24 1/2 x 36 3/4 inches
painting
The Tate Gallery, London


At the exhibition in Manchester in 1857, there was unanimous admiration for Henry Wallis's Chatterton. It was widely regarded as the most popular painting in the exhibition, and according to a later report, "it needed two policemen for its protection in Manchester against the crushing crowd."

It appealed to the popular Victorian sensibility.

This highly romanticised picture created a sensation when it was first exhibited at the Royal Academy in 1856.

Thomas Chatterton was a poet whose 'gothic' writings, melancholy life and youthful suicide fascinated artists and writers of the nineteenth century.

At an early age, he wrote fake medieval histories and poems, which he copied onto old parchment and passed off as manuscripts from the Middle Ages. The fraud was later discovered. In London he struggled to earn a living writing tales and songs for popular publications.

Penniless, he took his own life by swallowing arsenic at the age of seventeen.

Manchester: Tintoretto

TINTORETTO (b. 1518, Venezia, d. 1594, Venezia)
Esther before Ahasuerus
1547-48
Oil on canvas, 207,4 x 273 cm
Royal Collection, Windsor



Another of the paintings exhibited at Manchester in 1857.

The subject of the picture is taken from the Book of Esther.

Esther, the Jewish queen of the Persian emperor, Ahasuerus, intervenes on behalf of her people in Persia who were threatened with death in a proclamation issued by the chief minister, Haman.

Esther attended the court in regal dress in order to appeal to Ahasuerus. 'But as she was speaking, she fell fainting. And the King was agitated, and all his servants sought to comfort her' (15:7).

Ahasuerus stands on the left at the top of the flight of steps at the foot of which Esther kneels, supported by her entourage. Following this intercession and further deliberation Ahasuerus overrules Haman, who was himself hanged as a consequence of his ill-judged policy.

The story of Esther was often treated as a prefiguration of the role of the Virgin in the Last Judgement.

Manchester: St Francis

BELLINI, Giovanni
(b. ca. 1426, Venezia, d. 1516, Venezia)
St Francis in Ecstasy
1480-85
Oil on panel, 120 x 137 cm
Frick Collection, New York

Influenced by Flemish painting, St Francis stands in the midst of a landscape which is replete with the complex symbolic allusions of Flemish art - plants, animals, and household objects alluding to Franciscan ideals of poverty and humility.

Resembling a stigmatisation, this scene may be, rather, a meditation on Francis identification with creation

This painting was in private hands and exhibited at the Manchester Exhibition in 1857. Now it is in the Frick Collection in New York City.

One wonders at its effect on the people who came to see the Manchester Exhibition in 1857.

“The Greatest Show on Earth” : Manchester 1857

Lindsay Duguid in the TLS recounts “The Greatest Show on Earth” in Manchester 1857:

Two suits of sixteenth-century armour, positioned between a television screen and an information panel at the entrance to this new exhibition at Manchester Art Gallery, are the guardians of a display that leads the visitor into a double past. Art Treasures in Manchester: 150 years on contains 160 works of art from an earlier, grander show, held in 1857 with the plain but ambitious title, Art Treasures of the United Kingdom. What we see today gives some idea of the serious nature of that assembly. Italian Old Masters, Dutch genre paintings, portraits by Reynolds and Lawrence, landscapes by Turner and Constable, Pre-Raphaelite narrative pictures, watercolours and art photography are austerely hung alongside cabinets full of a somewhat miscellaneous selection of medieval ivories, majolica, Venetian glass, Chinese and Sèvres porcelain. Objects such as Lucrezia Borgia’s mirror and the “Cellini Shield” give the impression of an eclectic, connoisseurial country-house collection.

This cannot have been the effect of the original show, which was on an industrial scale: over 16,000 works housed in a 700-foot-long specially designed iron and glass pavilion in the botanical gardens on the outskirts of the city. From May to October, the 1.3 million visitors who arrived at Old Trafford by train were catered for by several classes of dining room and entertained by a small orchestra conducted by Charles Hallé. The official opening was attended by Queen Victoria and Prince Albert, and there was a good deal of press coverage of “The Greatest Show on Earth”, ranging from pious editorials to facetious commentaries written in dialect (Tom Treddlehoyle’s “A Peep at t’Manchister Art Treasures Exhebishan”) and comical cartoons. Nathaniel Hawthorne and Mrs Gaskell visited often; Ruskin lectured on art versus commerce; Disraeli compared Manchester to Renaissance Florence in The Times; and Engels wrote enthusiastically to Marx: “you and your wife ought to come up this summer and see the thing”. Conceived as a response to the 1851 Great Exhibition in Hyde Park and the Paris Exposition Universelle of 1855, and put together in fourteen months, it was a feat of organization and a demonstration of civic pride – just as this well-curated, unpatronizing show is perhaps a nod in the direction of Liverpool, whose year as European City of Culture begins in January 2008.

It acts as a sort of time capsule, providing evidence of its phantom predecessor, which itself was a demonstration of a new attitude to great art. In today’s aesthetically spare galleries, the blown-up photographs from 1857 show canvases in heavy frames hung three or four deep up to the vaulted ceiling, aisles full of marble statues, and well-dressed gentlefolk in sociable groups. The works were originally uncaptioned, the catalogue merely listing title and artist’s name (though Prince Albert, the exhibition’s patron, had insisted on the innovative, chronological arrangement of the exhibits). The year 1857, just six years after Turner’s death, twenty after Constable’s, saw the start of Constable’s rise to pre-eminence and the height of veneration for such “Modern Masters” as William Etty (fourteen works on display then, one now), Edwin Landseer (twenty-three reduced to one) and Holman Hunt (five reduced to one). Henry Wallis’s “Death of Chatterton”, painted the previous year, was voted the most popular modern painting. Space was found for “An Episode in the Happier Days of King Charles I”, 1853, by Frederick Goodall, still a stirring sight, and William Mulready’s “The Wolf and the Lamb”, 1821, still a puzzle.

Among the visitors, Tennyson might have admired Arthur Hughes’s new work, “April Love”, the inspiration for which had been his 1832 poem “The Miller’s Daughter”, and the subject of Thomas Lawrence’s “Portrait of Georgina Maria Leicester, as Hope”, 1811, was able as an elderly matron to admire the image of her younger self, just as that artist began the long decline in his posthumous reputation. Some attributions have not stuck; what was thought to be a Giotto is now firmly assigned to Spinello Aretino; the Duccio is really a Sano di Pietro; the Duke of Newcastle’s Correggio is now labelled as by Francesco Furini. The original lenders – nearly a thousand of them who sent their works, uninsured, out of a spirit of patriotism and philanthropy – were in many cases private individuals, whose treasures are now in museums and art galleries (the Royal collections, Christ Church, Oxford, and the Royal Academy have been able to hold on to theirs). A map in the final room shows how, in later years, many of the original exhibits were sold on across the world: a Titian to Boston, a Rembrandt to New York, Gainsborough’s “Blue Boy” to San Marino, California, a Rubens to Cologne. Not long after the exhibition closed with its profit of £304, and the pavilion was taken down, the great dispersal from British private collections began.

Tuesday, November 13, 2007

The Manchester Madonna

Michelangelo 1475 - 1564
The Virgin and Child with Saint John and Angels ('The Manchester Madonna')'about 1497
Egg tempera on wood
104.5 x 77 cm.
National Gallery, London




Nowadays, if one was to speak of Madonna in Manchester, one might think of a sell-out concert involving the American singer. It was not always the case.

The 'Manchester Madonna' is probably an unfinished work from Michelangelo's youth.

In it, Christ (as a young child) indicates a passage in a book held by his mother involving his future sacrifice. The right side of the painting (the angels) is largely finished as are the central figures of Christ and his mother (except for her hair). The figures on the left are barely roughed in.

Note that the mother is not looking at her son and the minimal contact - both features are present in most of Michelangelo's works.

It was nicknamed the 'Manchester Madonna' due to the excitement it caused in the city on its first visit in 1857. The Virgin and Child caused a sensation because it had only recently been attributed to Michelangelo.

Crowds flocked to see it - and 16,000 other paintings, sculptures, watercolours, photographs, ceramics, glassware and textiles - gathered in a vast crystal palace at Old Trafford. The pavilion cost £25,000 - that’s £41m in modern money.

More than 1.3 millon visitors came to the 1857 exhibition in just five months, an attendance figure that probably only Tate Modern could match today. Queen Victoria, Dickens, Tennyson, Florence Nightingale, Elisabeth Gaskell, John Ruskin, the Duke of Wellington, Benjamin Disraeli, Lord Palmerston, and the French emperor Louis Napoleon all headed north to wonder.

Charles Dickens, who visited the exhibition, wrote:

“The care for the common people is admirable...but they want more amusement, and particularly something in motion, though it were only a twisting fountain. The thing is too still after their lives of machinery; the art flows over their heads in consequence.”

But Engels wrote to Karl Marx about the exhibition:

“Everyone up here is an art lover just now and the talk is all of the pictures at the exhibition…”

The exhibition was described modestly as "the greatest show on earth" and according to Victoria Whitfield's catalogue essay, "remains the largest temporary exhibition ever to have been held in Britain.

The Transept Gallery of the Art Treasures Palace, 1857

Monday, November 12, 2007

David doing Penance





Jean Fouquet or Jehan Fouquet (1420 - 1481)
Heures d'Étienne Chevalier, illustrated by Jean Fouquet
British Library, London
ADD. MS. 37 421


Jean Fouquet or Jehan Fouquet (1420 - 1481) was the most important French painter of the 15th century, a master of both panel painting and manuscript illumination, and the apparent inventor of the portrait miniature.

In this illustration, David, in an imaginary Kingdom, steps down his army, kneels and gives thanks, and seeks mercy.

His army is on the right hand side. The sky opens and God the Father appears in his Majesty, amongst his angels. A dead body lies near the area where the demons torment the lost souls.

The scene appears to illustrate the lines in Psalm 6, the first of seven penitential psalms. The title of this Psalm is, To the Chief Musician. With stringed instruments. On an eight-stringed harp. A Psalm of David.

" O LORD, do not rebuke me in your anger
or discipline me in your wrath.
Be merciful to me, LORD, for I am faint;
O LORD, heal me, for my bones are in agony.

3 My soul is in anguish.
How long, O LORD, how long?

4 Turn, O LORD, and deliver me;
save me because of your unfailing love.

5 No one remembers you when he is dead.
Who praises you from the grave ?

6 I am worn out from groaning;
all night long I flood my bed with weeping
and drench my couch with tears.

7 My eyes grow weak with sorrow;
they fail because of all my foes.

8 Away from me, all you who do evil,
for the LORD has heard my weeping.

9 The LORD has heard my cry for mercy;
the LORD accepts my prayer.

10 All my enemies will be ashamed and dismayed;
they will turn back in sudden disgrace."



Note. - Any commuter on Southern Region trains in the last fortnight especially around Sutton and West Croydon will perhaps be more atuned to the feeling behind this particular psalm.



Sunday, November 11, 2007

Giuliano Finelli



Finelli Giuliano (Carrara 1602 - Roma 1653)
Michelangelo il Giovane
Portrait of Michelangelo the Younger
(1630)
Marble
Firenze, Casa Buonarroti


Giuliano Finelli (Carrara 1602 - Roma 1653)
Bust of Scipione Borghese
1632
Marble
Metropolitan Museum of Art, New York



Finelli entered Bernini's circle in the early years of Bernini's activity. He derived a keenness of individualisation from Bernini, but does not conceal certain Manneristic motifs.

Saturday, November 10, 2007

The Appalling Abomination

Mulier Fortis has a very disturbing note about the Government`s forthcoming Human Fertilisation and Embryology Bill which is due to have its second reading on 19th November in the House of Lords.

Are we surprised ?

Mother and Child

Gertrude Käsebier (American, 1852–1934)
Maternity, 1897
Gumprint, 11 3/4 x 8 7/16 in. (29.8 x 21.4 cm)
University of Yale Art Gallery

Gertrude Käsebier, along with her fellow Pictorialist photographers, was engaged with establishing photography as an art form equal to drawing and painting. She often used gum Arabic in lieu of more conventional photographic emulsions and these works more closely resemble charcoal studies than photographic prints.

As a professional photographer, Käsebier would continue to be drawn to the subject of mother and child, as in this photograph of 1897, which she also exhibited under the titles "Adoration" and "The Vision."

The Seven Cardinal Sins



Otto Dix (b Untermhaus, nr Gera, 2 Dec 1891; d Singen, 25 July 1969).
The Seven Cardinal Sins
1933


When the Nazis came to power in Germany, they regarded Dix as a degenerate artist and had him sacked from his post as an art teacher at the Dresden Academy. He later moved to Lake Constance. Dix's paintings The Trench and War cripples were exhibited in the Nazi exhibition of degenerate art, Entartete Kunst. They were later burned.

During World War II Dix was conscripted into the Volkssturm. He was captured by French troops at the end of the war and released in February 1946. Dix eventually returned to Dresden. After the war most of his paintings were religious allegories or depictions of post-war suffering.

Friday, November 09, 2007

Cardinal Giulio Antonio Santorio (Cardinal Santaseverina)














FINELLI, Giuliano (b. 1601, Carrara, d. 1653, Rome)
Bust of Cardinal Giulio Antonio Santorio 1633-34
Marble, life-size
San Giovanni Laterano, Rome


The sepulchral bust of Cardinal Giulio Antonio Santorio in the chapel of St John Lateran which he established transformed the traditional praying figure into an image of Counter-Reformation zeal.

Finelli here conveys the illusion of the whole figure at prayer.

The idea evidently touched a chord with the contemporary public, alluding to the beneficent power of the Mass and hopes of eternal life.

He emerged from the workshop of Bernini but in 1629, when he felt slighted by the awarding of the choice commission of a Saint Helena statue for the crossing of St Peter's to Andrea Bolgi, he broke with Bernini.

Within a few years of after leaving the employ of Bernini, Finelli left for Naples with his pupil and nephew, Domenico Guidi. He is known best for a number of portraits and statuary in the cathedral of San Gennaro in Naples.

Giulio Antonio Cardinal Santorio (1532-1602) (denominated Cardinal Santaseverina) was Prefect of the Supreme S.C. of the Roman and Universal Inquisition.

He participated in the processes for heresy against Cardinal Giovanni Morone, philosophers Giordano Bruno and Tommaso Campanella, and King Henri IV of France.

On November 25, 1584, he consecrated the Jesuit church the  Gesù, Rome.

In 1586 Giulio Antonio Santorio, Cardinal of St. Severina, printed a handbook of rites for the use of priests, which, as Pope Paul V said, "he had composed after long study and with much industry and labor" (Apostolicæ Sedis). This book is the foundation of the Roman Ritual.

Gregory XIII (1572-85) instituted a primary commission composed of the three cardinals, Caraffa, Medici, and Santorio, who were especially charged to promote the union with Rome of the Oriental Christians (Slavs, Greeks, Syrians, Egyptians, and Abyssinians). Their meetings, held under the presidency of Cardinal Santorio, known as the Cardinal of Santa Severina, revealed certain urgent practical needs - e.g. the foundation of foreign seminaries, the printing of catechisms and similar works in many languages. Its efforts were successful among the Ruthenians, the Armenians, Syrians, both Western (as those of the Lebanon) and Eastern (as those of Malabar).

After the death of Gregory XIII the rapid succession of four popes in seven years arrested the progress of the commission's work.

Clement VIII (1592-1605), a pontiff of large and bold aims, was deeply interested in the commission, and caused its first meeting after his election to be held in his presence. He retained Santorio as its president: that is President of the Congregation super negotiis Sancta Fidei et Religionis Catholicae, considered the precursor of the S.C. of Propaganda Fide.

Weekly meetings were held in that cardinal's palace, and every fifteen days the decisions and recommendations of the commission were referred to the pontiff. To this period belongs a very notable triumph, the union with Rome of the Ruthenian nation (the Little Russia of Poland) called the Union of Brest (1508).

He supported the establishment of the S.C. of the Propagation of the Faith and of the Pontificio Collegio Greco in Rome.

Pope Sixtus V wanted a street to directly link S. Giovanni in Laterano with St. Peter and ordered Domenico Fontana to pull down the Coliseum. However, fortunately, Cardinal Santorio and others succeeded in persuading him to spare the Roman ruin.

He wrote numerous liturgical, historical and canon law works, as well as as his diaries, partially published, and his autobiography that was published in 1889-1890.

St John Lateran











Thursday, November 08, 2007

The Assassination of Saint Peter Martyr

Within a short distance of each other in Central London are two versions of the one theme: both by Giovanni Bellini and/or his workshop. It is interesting to compare and contrast the two versions.

One is at Trafalgar Square at the National Gallery, London. The other is in The Courtauld Institute in The Strand.



Bellini, Giovanni c.1430-1516
Assassination of Saint Peter Martyr (c. 1507)
Egg tempera and oil on wood
99.7 x 165.1 cm.
The National Gallery, London


Inscribed on the small piece of paper in the right corner (much retouched, with uncertain spelling, and possibly false): Ioannes/Bellinus/.p[inxit].




Bellini, Giovanni (workshop of) c.1430-1516
Assassination of Saint Peter Martyr (c. 1509)
Oil on panel
Height: 68.1 cm; Width: 100 cm
Courtauld Institute of Art Gallery, London
The Courtauld version once had the date 1509 on its reverse.





Landscape with the martyrdom of Saint Peter Martyr (recto)
Pen and ink on paper
Height: 20.8 cm; Width: 27.6 cm
Courtauld Institute of Art Gallery, London



X-rays of the National Gallery painting show that the stance of Peter Martyr's murderer was changed from upright to stooping.

Drawings made by Bellini for the new figure groups must have been reused as the basis of a workshop version at the Courtauld Institute, London. The four central figures of the Courtauld version repeat exactly the outlines of those in the National Gallery picture.

The Courtauld version once had the date 1509 on its reverse. The National Gallery picture, perhaps painted with assistance, probably dates earlier, to about 1507.

The woodsmen in the background chopping trees (which bleed in the Courtauld version) are intended to remind us of the way in which the saint was killed.


By the 1480s Giovanni Bellini had become a leading master in all types of painting practised in 15th-century Venice. He also oversaw a technical revolution in the art of painting, involving the gradual abandonment of the traditional Italian use of egg tempera in favour of the technique of oil painting pioneered in the Netherlands. It was thanks to Giovanni Bellini that the Venetian school of painting was transformed during the later 15th century from one mainly of local significance to one with an international reputation.


The story of Saint Peter Martyr, a Dominican friar and inquisitor, is told in the 'Golden Legend'.

Saint Peter of Verona, O.P. also known as Peter Martyr (1206 – April 6, 1252), was a 13th century Dominican preacher and Grand Inquisitor in Italy.

He was born at Verona, a son of Cathars, adherents of the dualist faith which had many adherents in northern Italy in the thirteenth century. He went to a Catholic school, and later to the University of Bologna, where Peter is said to have maintained his orthodoxy and at the age of fifteen, met Saint Dominic. Peter joined the Order of the Friars Preachers (Dominicans) and became a celebrated preacher throughout northern and central Italy.

He was energetic in seeking out heresy and punishing the offenders.

He was killed on 6 April 1252, when returning from Como to Milan by Cathars. According to legend, a man called Carino who with some other Cathars had designed the attack struck his head with an axe, and then gave Peter's companion Dominic several fatal wounds.

It is told that, rising to his knees, Peter recited the first article of the Symbol of the Apostles, and offering his blood as a sacrifice to God he dipped his fingers in it and wrote on the ground the words: "Credo in Unum Deum". The assassin then pierced his heart.

His assassin, Carino, eventually became a Dominican at Forlì and is the subject of a local cult as "Blessed Carino of Balsamo".

Many miracles are attributed to him when living, and even more after his martyrdom.

He was canonized by Pope Innocent IV on March 9, 1253 after an interval of only 337 days, making him the fastest papally canonized saint in history.

Tony Blair to become Catholic 'within weeks' ???

The Telegraph has another report about the former PM`s possible and imminent conversion to become a Roman Catholic.

"The former prime minister will be received into his new church in a mass at the private chapel of Cardinal Cormac Murphy-O’Connor, the leader of the Roman Catholic Church in England and Wales.

He has been guided by Fr John Walsh, a former RAF chaplain who celebrated mass at Chequers, and Fr Mark O’Toole, the cardinal's secretary. ...

The imminent conversion was disclosed by the respected Catholic newspaper The Tablet, which predicted the service would be held this month."

Tuesday, November 06, 2007

The Queen`s Speech

In the United Kingdom, the Queen comes to Westminster and delivers the Speech from the Throne. It is written for her by the Government. It sets out the main Government Bills for the forthcoming session.

Tucked away in the announcements was the announcement that the Government intended to introduce a Human Tissues and Embryos Bill. It is said that the Bill if it becomes law (which it will) will ensure the creation and use of all human embryos outside the body is regulated.

The bill also proposes a ban on selecting the sex of babies for non-medical reasons and would recognise same-sex couples as legal parents of children conceived through the use of donated sperm, eggs or embryos.

It applies to the whole UK, although there are some provisions involving the changes to legal parenthood in Scotland and Northern Ireland.

You can also bet that the Bill will also cover many other issues in this very contentious and delicate area.

Saint Peter`s, Cardross







Hidden in dense woodland on the north bank of the Firth of Clyde, somewhere beyond Dumbarton, is a structure many regard as the finest modern building in Scotland.

The architects were influenced by Le Corbusier’s monastery at La Tourette, having travelled extensively throughout Europe, but also drew on traditional forms and materials associated with Scotland.

Yet today it is a ruin, an abandoned reinforced-concrete shell, stripped of its interior joinery and now obscenely vandalised and desecrated.

In the late 1950s, the firm Gillespie, Kidd & Coia was commissioned to design a new Catholic Seminary in the grounds of Kilmahew House, a 19 th century baronial tower house.

Two relatively young architects, Isi Metzstein and Andy MacMillan, were charged with designing it. They had first met as students at Glasgow School of Architecture in the mid 1940s and were a formidable duo.

In 1959, they were to receive their largest and most complex commission, St. Peter’s College, Cardross; a Catholic teaching seminary for 100 students.

Its design had been broadly finalised in 1961 prior to the Second Vatican Council. Archbishop Campbell cut the first sod on the site.

When St. Peter’s received its first students in 1966, it found itself trapped in a time warp, its cellular teaching spaces and individual prayer chapels proving difficult to adapt to the new communal style of teaching. These problems were exacerbated by maintenance and upkeep issues. At its peak, the seminary housed less than half its intended number of students. Those studying at Cardross were forced to contend with frequent floods, as rain poured through the chapel skylight, while a combination of inadequate under-floor heating and extensive glazing ensured that overheating never became an issue.

The college was occupied for just 15 years before its students where transferred elsewhere, leaving Metzstein and Macmillan’s masterpiece to rot. Its trainee priests were briefly replaced by drug addicts in 1983, when the seminary was briefly used as a drug rehabilitation centre. This was abandoned in 1987 due to the deteriorating condition of the buildings. In 1992, St. Peter’s was listed category-A by Historic Scotland, recognised as a site of national and international significance. The following year, the college’s owner, the Archdiocese of Glasgow, submitted an application for its partial demolition, which was subsequently refused. However, Kilmahew house was set alight by vandals in 1995 and demolished shortly after.

Since then, the archdiocese has lodged several planning applications seeking to construct houses in the surrounding greenbelt estate and to stabalise the college as a monumental ruin. In 1999, one such application was refused when it was called-in by the Scottish Executive, who concluded that, “The creation of a monumental ruin does not constitute conservation.”

The walls, though, are plastered not with devotional frescoes, but with graffiti, most of it disrespectful, some of it obscene. Empty cans of Irn-Bru and discarded bottles of Buckfast - a cheap, fortified "tonic" wine - are strewn about.

The World Monuments Fund placed St Peter's College on its register of buildings at risk. Dedicated over the past 40 years to the preservation of endangered cultural sites around the world, the WMF has worked both minor and major miracles, in shoring up and resurrecting important buildings at more than 450 sites in more than 80 countries.

Today, the sites and buildings it is most worried about include Captain Scott's Hut at Cape Evans, Antarctica, the 19th-century city of Fianarantsoa in Madagascar, the 13th-century Epailly Chapel of the Order of the Temple at Courbon in France, the cultural sites of Iraq - all of them - and now, St Peter's College in Cardross.

For more information and images, see The Telegraph: St Peter's prayer for salvation

Monday, November 05, 2007

Saint Teresa of Ávila and Bernardino de Mendoza

Workshop of Peter Paul Rubens (Flemish, 1577–1640)
Saint Teresa of Ávila Interceding for Souls in Purgatory
Oil on wood; 25 1/4 x 19 1/4 in. (64.1 x 48.9 cm)
Metropolitan Museum
New York

A reduced workshop version of a large altarpiece painted by Rubens about 1630 to 1633 for the Church of the Discalced Carmelites in Antwerp.

The scene is based on the story of Bernardino de Mendoza, a young Spaniard who had given Saint Teresa land on which to build a convent.

Bernardino died before it could be built, and Christ appeared to Saint Teresa informing her that his soul could not be released from Purgatory until the convent was completed.

Bernardino appears in Purgatory at the left of the painting.

Dante`s Purgatory

GIRALDI, Guglielmo
(active 1445–1489 in Ferrara)
Frontispiece to Purgatory by Dante
1477-82
Tempera and gold on vellum, 378 x 241 mm
Biblioteca Apostolica Vaticana, Rome



The picture shows the frontispiece to Purgatory from Federigo Montefeltre's personal hand-written and illuminated copy of Dante's Divine Comedy. The manuscript was written by Matteo de' Congugi of Volterra

The main scene, showing Dante and his guide Vergil meeting with Cato, is framed within a pilastered niche which is itself enclosed within columns on high pedestals.

The three small scenes are Dante Bathing his Hands in the Dew of the Meadow; Vergil Wiping Away the Tears from his Face; and Vergil and Dante on the Shore with the Mountain of Purgatory.

The Duke's arms and other symbols and mottos play a major role in the decorative scheme

Sunday, November 04, 2007

All Saints and The Last Coyote

Hieronymus Bosch (c. 1450 – August 9, 1516)
Ascent of the Blessed 1500-1504
Oil on panel, 87 x 40 cm
Venice, Palazzo Ducale



Many of the works of Hieronymus Bosch, (his real name Jeroen van Aken) (c. 1450 – August 9, 1516) depict sin and human moral failings. Bosch used images of demons, half-human animals and machines to evoke fear and confusion to portray the evil of man.

But in this painting Ascent of the Blessed made sometime after 1490, he depicts something more sublime. The blessed approach that final and perpetual union of the soul with God which is experienced on earth only in rare moments of spiritual exaltation. It is currently in the Palazzo Ducale, in Venice, Italy.

This painting is part of a series of four, the others are Terrestrial Paradise, Fall of the Damned and Hell.

In his book, The Last Coyote, Michael Connolly mentions the painting as being depicted on a postcard sent to his detective hero, Hieronymus Bosch.


Thursday, November 01, 2007

Purgatory 3

SIGNORELLI, Luca
(b. ca. 1450, Cortona, d. 1523, Cortona)
The Angel Arrives in Purgatory
1499-1502
Fresco
Chapel of San Brizio, Duomo, Orvieto


Another episode from the Divine Comedy.

Purgatory 2

SIGNORELLI, Luca
(b. ca. 1450, Cortona, d. 1523, Cortona)
Dante and Virgil Entering Purgatory
1499-1502
Fresco
Chapel of San Brizio, Duomo, Orvieto



In these Orvieto frescoes Signorelli proves that he is a talented illustrator of Dante. He has succeeded in giving an interpretation of the Divine Comedy that is evocative and visionary, almost "modern" or should that be timeless.

Purgatory 1

CARRACCI, Lodovico
(b. 1555, Bologna, d. 1619, Bologna)
An Angel Frees the Souls of Purgatory
c. 1610
Oil on canvas, 44 x 51 cm
Pinacoteca, Vatican

Truth in religion

The polemical works by Dawkins, Christopher Hitchens and others comes under critical scrutiny in a review in the Times Literary Supplement.

In his review of John Cornwell`s DARWIN’S ANGEL: An angelic riposte to The God Delusion and John Humphrys IN GOD WE DOUBT, John Polkinghorne in his article "The truth in religion: Substituting science for religion is like swapping a series of case-notes on senile dementia for King Lear" takes the recent critics of religion to task.

John Polkinghorne was formerly Professor of Mathematical Physics at Cambridge University, and President of Queens' College. His autobiography From Physicist to Priest was published this year

"Religious belief is currently under heavy fire. Books by Richard Dawkins, Christopher Hitchens and others tell us that religion is a corrupting delusion. Despite their assertions of the rationality of atheism, the style of their onslaughts has been strongly polemical and rhetorical, rather than reasonably argued. Historical evidence is selectively surveyed. Attention is focused on inquisitions and crusades, while the significance of Hitler and Stalin is downplayed. Believers in young-earth creationism are presented as if they were typical of religious people in general. The two books under review aim to make a more temperate contribution to the debate. ...

Cornwell begins by pointing out that Dawkins makes no serious attempt to engage with the academic discussion of religious thought and practice. His book is “as innocent of heavy scholarship as it is free from false modesty”. When it asserts that Jesus’ call to love our neighbour referred only to relations between Jews (despite this claim being in clear contradiction to the point of the parable of the Good Samaritan), the only support quoted for this highly questionable statement is a book written by an anaesthesiologist.

Over the centuries, theologians have wrestled with how human language can attempt to speak about the nature of God, emphatically rejecting the idea that the deity is simply an invisible object among the other objects of the world. Yet, as Cornwell points out, the God in whom Dawkins disbelieves is a kind of “Great Science Professor in the Sky”, a simplistic notion that any thinking theist would be quick to reject. We are continually told that theology is no proper academic discipline, a conclusion that could only be reached by someone whose knowledge of the subject was comparable to the scientific knowledge displayed by those who write in green ink that “Einstein was wrong”.

Dawkins is relentlessly rude about religious believers. They are said to be “malevolent, barking mad, mendacious, deluded” and much more. He cannot have the courtesy to take seriously those of us who are both scientists and believers. Religious education of the young is equated with child abuse. Darwin’s angel pertinently asks, “Would you really trade child sexual abuse for being brought up in the religion of your parents?”. The tone of contempt – one might almost say hatred – that characterizes many of the assertions in The God Delusion is one of the most disturbing aspects of the book."


Tuesday, October 30, 2007

Renaissance Siena: Art for a City

Neroccio di Bartolomeo Landi (Siena 1447 - 1500)
Saint Catherine of Siena (15th century)
Description: Polychrome wood, detail.
Oratorio di Santa Caterina, Siena




Renaissance Siena: Art for a City is at the National Gallery, London WC2

In a brilliant review in The Times Rachel Campbell-Johnston explains why Siena and Sienese art are important enough subjects to merit a special exhibition at The National Gallery in London.

"This distinct Sienese style, so expressive of spirituality, is the artistic equivalent of a dialect. It remains at the root of the city’s aesthetic throughout the period that this show covers. We may see it adapted and altered as such Renaissance advances as perspective and modelling are introduced; as Siena, in what must have been seen as a great propaganda coup, lures Florence's most famous sculptor, Donatello, to work within its walls; or, under the auspices of the powerful Piccolomini family (who produced not just one but two Popes) plays host to such trophy talents as Raphael. But again and again that innate lyrical elegance, that light dancing touch that sets solid figures swaying, saints leaping on tiptoe, patterned draperies swirling and spidery fingers pointing, infuses these images with an almost frolicsome levity that brings them to what feels more like a spiritual than a physical life. "

Five of the exhibits are:

"Saint Catherine of Siena

As this painted wooden statue of the city’s patron by Neroccio di Bartolomeo leaves Siena for the first time, the spectator can hardly help but be touched by its aura of delicate melancholy

Saint Dorothy and the Infant Christ, by Giorgio Martini

The elegant line and exquisite gilding that convey a spiritual aura merge with the tender observation that watches a woman take the hand of a little toddling child

The Asciano Altarpiece, by Matteo di Giovanni

The dismembered parts of one of the great visionary works of the Quattrocento are brought back together to recapture its atmosphere of otherworldly splendour

The Story of Patient Griselda

The delightfully evocative images of Boccaccio’s story of the exemplary wife Griselda are reunited at the National Gallery for the first time in two centuries

The Expulsion of Adam and Eve from Earthly Paradise, by Benvenuto di Giovanni

This tiny but compelling panel captures a powerful and disturbing sense of drama "

Sunday, October 28, 2007

Borders and Margins

Grey Fitpayn Hours,MS 242, fol 29
Manuscript
14th Century
Fitzwilliam Museum, University of Cambridge


The Grey-Fitzpayn hours are so-called because, on the basis of the heraldry in the MS, it is believed to have been made in honour of the wedding of Richard Grey and Joan Fitzpayn which probably took place in the period 1300-1308.

The margins are filled with a profusion of creatures, often juxtaposed without any narrative or logical, or natural scale relationship. There are also frequent representations of Joan Ftizpayn and Richard Grey kneeling in prayer.

In this image, in the initial, Joan Fitzpayn kneels in prayer before the enthroned Christ who is holding an orb.

The borders show a marvellous collection of animals, birds, and heraldry, including (clockwise from the left of the initial): a squirrel, dogs chasing a rabbit, a dozing lion, a boar, a goat nibbling leaves, a seated rabbit, two dogs harrying a stag. In the bottom margin there is a lively hunting scene.

The arrow of the bowman to the right has found its mark in the neck of the stag who is bounding over a rabbit as it is chased rightwards by the two dogs to the left.

Between the archer and the stag, a lion and a fox eye each other closely.

Genesis: a Manuscript

Manuscript MS 330.ii
14th Century
Fitzwilliam Museum, University of Cambridge




One of seven extant full-page miniatures from a lost psalter associated with William de Brailes, an artist working in Oxford, 1238-52.

This leaf depicts six scenes from Genesis:

God clothing Adam and Eve (a rarely depicted subject);

Adam digging and Eve spinning;

the offerings of Cain and Abel;

Cain slaying Abel:

God rebuking Cain:

Lamech slaying Cain.

The medallions in the frame show: God rebuking Adam, and Eve (above): Adam and Eve, each clothed and dejected after the Fall (both sides); and their sons, Enoch and Seth (below).

Saturday, October 27, 2007

40 years of the Abortion Act

Today is the fortieth anniversary of the Abortion Act 1967 which legalised abortion on a wide scale in the United Kingdom.

To mark this, there was a Prayer service in Westminster Cathedral, London led by Cardinal Cormac Murphy-O’Connor. The hour long service had a full attendance.

In his talk, the Cardinal compared the campaign against abortion to the long struggle in Britain to outlaw the slave trade.

Friday, October 26, 2007

Pope Benedict: Evangelisation and culture

CWNews.com reports that today (October 26th, 2007) Pope Benedict XVI preached after a Mass in St. Peter's Basilica, (with Cardinal Zenon Grocholewski, the prefect of the Congregation for Catholic Education, presiding) to hundreds of students at the pontifical universities gathered there.

He emphasised to the students that "all culture of modern man must be permeated by the Gospel."

He said that effective evangelisation involves making the Gospel "penetrate deeply into the way people think."

For young people spending a few formative years in Rome, the Pope said, the city offers "eloquent Christian testimony" in the works of art, architecture, and institutions built up over the centuries. The pontifical universities have their own rich history, he added, noting that in those schools "entire generations of priests and pastoral workers were formed, including many great saints and illustrious men of the Church."

Encourging the students to diligence in both their studies and their spiritual lives, Pope Benedict told them that they should recognize their academic work as preparation for their priestly mission. The Gospel must be proclaimed in new ways to a new culture, he said, and the ability to state ancient truths in new ways is "more pressing than ever in our post-modern age, in which the need is felt for a new evangelization, and which needs masters of faith and appropriately trained heralds and witnesses of the Gospel."

Saint Ambrose

DYCK, Sir Anthony Van (b. 1599, Antwerpen, d. 1641, London)
Emperor Theodosius Forbidden by St Ambrose To Enter Milan Cathedral
1619-20
Oil on canvas, 149 x 113 cm
National Gallery, London


St Ambrose, the fearsome fourth-century Archbishop of Milan, is said to have refused Theodosius entry into the cathedral because of the emperor's vengeful massacre of the inhabitants of Thessalonica. Theodosius impetuously thrusts his face upwards towards the saint. Ambrose's sturdy vigour has been transferred to the crozier as if the priest who holds it for the saint were ready to bring it crashing down on the emperor.


GOZZOLI, Benozzo (b. ca. 1420, Firenze, d. 1497, Pistoia)
Scenes with St Ambrose (scene 9, north wall)
1464-65
Fresco, 220 x 230 cm
Apsidal chapel, Sant'Agostino, San Gimignano



The fresco showing the Scenes with St Ambrose depicts St Augustine hearing the bishop preaching in Milan. Here, too, St Augustine is depicted twice: on the left he is talking with the seated St Ambrose. On the right side St Augustine has taken his seat at the edge of the picture before a niche. At this point the fresco is unfortunately severely damaged. The two scenes are clearly separated from each other by the construction of the picture. The preaching of St Ambrose made it possible for St Augustine to overcome the Manichaeist criticism of the Bible by means of allegorical biblical exegesis and Neoplatonic intellectuality. St Ambrose caused Augustine finally to convert to Christianity.



Here is a translation of the address Pope Benedict XVI delivered on 24th October 2007 at the general audience in St. Peter's Square on St. Ambrose of Milan.




On St. Ambrose of Milan
"Catechesis Is Inseparable From the Testimony of Life"



Dear brothers and sisters:

The saintly Bishop Ambrose, of whom I will speak to you today, died during the night in Milan between April 3-4, 397. It was the dawn of Holy Saturday. The day before, toward 5 p.m., he began to pray as he was lying in bed with his arms open in the form of the cross. That is how he participated in the solemn Easter triduum, in the death and resurrection of Our Lord. "We saw him moving his lips," testified Paulinus, the faithful deacon who was invited by Augustine to write Ambrose's biography entitled "Vita," "but his voice could not be heard."

Suddenly, the situation seemed to come to an end. Honoratus, bishop of Vercelli, who helped Ambrose and who slept upstairs from him, was awakened by a voice that repeated: "Get up, quick! Ambrose is approaching death." Honoratus immediately went downstairs, Paulinus recounted, "and offered the saint the Body of the Lord. After having taken it, Ambrose surrendered his spirit, carrying with him viaticum. Thus, his soul, strengthened by virtue of that food, now enjoys the company of angels" ("Vita," 47).

On that Good Friday of 397, the open arms of the dying Ambrose expressed his mystical participation in the death and resurrection of Our Lord. This was his last catechesis: Without speaking a word, he spoke with the testimony of life.

Ambrose was not old when he died. He was not even 60, for he was born around 340 in Trier, where his father was prefect of the Gauls. The family was Christian. When his father died, and he was still a boy, his mother brought him to Rome to prepare him for a civil career, giving him a solid rhetorical and juridical education. Around 370, he was sent to govern the provinces of Emilia and Liguria, with headquarters in Milan. It was precisely there where the struggle between orthodox Christians and Arians was seething, especially after the death of Auxentius, the Arian bishop. Ambrose intervened to pacify those of both factions, and his authority was such that, despite the fact that he was nothing more than a simple catechumen, he was acclaimed by the people as bishop of Milan.

Until that moment, Ambrose had been the highest magistrate of the Roman Empire in northern Italy. Highly prepared culturally, but deficient in knowledge of Scriptures, the new bishop began to study them energetically. He learned to study and comment on the Bible from the works of Origen, the undisputed master of the school of Alexandria. In this way, Ambrose brought to the Latin environment the practice of meditating on Scriptures initiated by Origen, beginning the practice of "lectio divina" in the West.

The method of "lectio" soon guided the preaching and writing of Ambrose, which emerged precisely from prayerful listening to the word of God. A famous opening from one Ambrosian catechesis distinctly demonstrates how the holy bishop applied the Old Testament to Christian life: "When we read the histories of the patriarchs and the maxims of Proverbs, we come face to face with morality," the bishop of Milan told his catechumens and neophytes, "in order that, educated by these, you can then accustom yourselves to enter into the life of the fathers and to follow the path of obedience to the divine precepts" ("I misteri," 1,1).

In other words, neophytes and catechumens, in the opinion of the bishop, after having learned the art of living morally, could then consider themselves prepared for the great mysteries of Christ. In this way, the preaching of Ambrose, which represents the heart of his prodigious literary work, originates from the reading of sacred books ("The Patriarchs," the historical books, and "Proverbs," the sapiential books), to live in conformity with divine revelation.

It is evident that the personal testimony of the preacher, and the exemplarity of the Christian community, conditions the efficacy of any preaching. From this point of view a passage from St. Augustine's "Confessions" is significant. Augustine had come to Milan as a professor of rhetoric; he was a skeptic, not a Christian. He was looking, but he wasn't able to truly encounter the Christian truth. For the young African rhetorician, skeptical and desperate, it was not the beautiful homilies of Ambrose that converted him -- despite the fact that he appreciated them immensely. Rather, it was the testimony of the bishop and the Church in Milan, which prayed and sang, united as a single body. It was a Church capable of resisting the bullying of the emperor and his mother, who had demanded again the expropriation of a Church building for Arian ceremonies in early 386.

In the building that was to be expropriated, Augustine wrote, "the devout people of Milan stayed put, ready to die with their own bishop." This testimony in the "Confessions" is invaluable, because it shows that something was moving deep within Augustine. He continued, "Despite the fact that we were still spiritually lukewarm, we participated as well in the fervor of the entire population" ("Confessions" 9, 7).

From the life and example of Bishop Ambrose, Augustine learned to believe and to preach. We can refer to a famous sermon of the African, which deserved to be cited many centuries later in No. 25 of the dogmatic constitution "Dei Verbum": "All the clergy must hold fast to the sacred Scriptures through diligent sacred reading and careful study, especially the priests of Christ and others, such as deacons and catechists who are legitimately active in the ministry of the word. This is to be done so that none of them will become," and here is where Augustine is quoted, "'an empty preacher of the word of God outwardly, who is not a listener to it inwardly.'" He had learned precisely from Ambrose this "to listen inwardly," this diligence in reading sacred Scripture in a prayerful attitude, in order to truly receive it in one's heart, and to assimilate the word of God.

Dear brothers and sisters: I would like to present to you a type of "patristic icon" that, seen in the light of what we have just said, effectively represents the heart of Ambrosian doctrine. In the same book of "Confessions," Augustine recounts his meeting with Ambrose, certainly a meeting of great importance for the history of the Church. He writes in the text that when he came to see the bishop of Milan, the latter was always surrounded by hordes of people with problems, whom he tried to help. There was always a long line of people waiting to speak to Ambrose, looking for comfort and hope. When Ambrose was not with these people -- and this only happened for short periods of time -- he was either filling his body with the food necessary to live, or filling his spirit with reading. In this respect Augustine praises Ambrose, because Ambrose read Scriptures with his mouth closed, and only with his eyes (cf. "Confessions," 6,3).

In the early centuries of Christianity, reading Scripture was thought of strictly in terms of being proclaimed, and reading aloud facilitated understanding, even for the one who was reading it. The fact that Ambrose could read through the pages only with his eyes was for Augustine a singular capacity for reading and being familiar with Scripture. In this reading -- in which the heart seeks to understand the word of God -- this is the "icon" we are talking about. Here one can see the method of Ambrosian catechesis: Scripture itself, profoundly assimilated, suggests the content of what one must announce in order to achieve conversion of hearts.

Thus, according to the teachings of Ambrose and Augustine, catechesis is inseparable from the testimony of life. The catechist may also avail himself of what I wrote in "Introduction to Christianity" about theologians. Educators of the faith cannot run the risk of looking like some sort of clown, who is simply playing a role. Rather, using an image from Origen, a writer who was particularly appreciated by Ambrose, he should be like the beloved disciple, who rested his head on the Master's heart and there learned how to think, speak and act. In the end, the true disciple is he who proclaims the Gospel in the most credible and effective manner.

Like John the Apostle, Bishop Ambrose, who never tired of repeating "Omnia Christus est nobis!" -- Christ is everything for us! -- remained an authentic witness for the Lord. With these same words, full of love for Jesus, we will conclude our catechesis: "Omnia Christus est nobis! If you want to heal a wound, he is the physician; is you burn with fever, he is the fountain; if you are oppressed by iniquity, he is justice; if you need help, he is strength; if you fear death, he is life; if you desire heaven, he is the way; if you are in darkness, he is the light. ... Taste and see how good the Lord is. Blessed is the man who hopes in him!" ("De virginitate," 16,99). We also hope in Christ. In this way we will be blessed and will live in peace.

Thieves in Brazil

Andrew Downie in Time reports on the growing theft of religious art in Brazil.

"Brazil is a particularly rich source of religious art, because during the 17th and 18th centuries it was the only art form encouraged by the country's devoutly Catholic rulers. In the states of Bahia and Pernambuco in the northeast, and Minas Gerais and Rio de Janeiro in the south, Portuguese settlers built baroque churches dripping with gold, silver and art. But today, much of that art is gone. "The last time I checked, we had registered 188 works of art stolen — that's since 2000," says Vanessa de Souza, a Brazilian police chief and delegate to Interpol. "We think there are a lot more that haven't been reported to us. Sometimes we see reports of thefts in the newspaper and we haven't been told officially."

Souza says some of the robberies are the work of gangs who traffic the pieces to Europe and beyond. Most, though, are done by small time crooks who fence their swag to local antique dealers, who then sell them on to private collectors. "

Christ Carrying the Cross

LISBOA, Antonio Francisco (o Aleijadinho)
(b. ca. 1738, Vila Rica, d. 1814, Vila Rica)
Christ Carrying the Cross
1796-99
Polychromed wood
Sanctuary of Congonhas do Campo, Brazil



At the end of the Baroque era, in the state of Minas Gerais, Brazil, the greatest artist was a mulatto architect and sculptor. A strange disease that caused the shriveling of his hands and feet earned him the nickname of o Aleijadinho (the little cripple). He built churches, carved altarpieces, and created wood and stone sculptures. The polychromed wood Stations of the Cross in the sanctuary of Congonhas do Campo were carved between 1796 and 1799.

The Prophet Daniel

LISBOA, Antonio Francisco (Aleijadinho)
(b. ca. 1738, Vila Rica, d. 1814, Vila Rica)
The Prophet Daniel
1800-05
Stone
Sanctuary of Congonhas do Campo, Brazil


Between 1800 and 1805, Aleijadinho executed twelve stone statues of prophets, just over life-size, for the terrace in front of the Congonhas do Campo sanctuary. He took up the old theme of the Dispute of the Prophets, revivifying the exhausted topic by infusing into it an expressionistic force reminiscent of the Middle Ages. For the costumes and figure types he found inspiration in a series of Florentine copper engravings from about 1470, which retained some flavour of the oriental dress worn by the Byzantine contingent to the Council of Florence between 1439 and 1442.

Church of the Third Order of St Francis in Ouro Preto

Church of the Third Order of St Francis in Ouro Preto. The façade is the work of Aleijadinho.

St. Francis of Assisi Receiving the Stigmata, façade of the St Francis church of Ouro Preto.


Aleijadinho (b. Antônio Francisco Lisboa; 1730 or 1738 – November 18, 1814) first appears as a day laborer working on the Church of Our Lady of Carmel in the town of Ouro Preto, a church designed by his father.

Within a very short time he had become a noted architect himself and had designed and constructed the Chapel of the Third Order of St. Francis of Assisi in Ouro Preto. He had also executed the carvings on the building, the most notable being a round bas-relief depicting St. Francis receiving the stigmata.

It was shortly thereafter that the signs of a debilitating disease, probably leprosy, began to show and not long after that Antonio received the name by which he has come down through history, O Aleijadinho, "Little Cripple."

Saturday, October 13, 2007

The First Mourning

William Bouguereau (1825-1905)
Premier Deuil [The First Mourning]
Oil on canvas, 1888
79 7/8 x 99 1/8 inches (203 x 252 cm)
Museo Nacional de Bellas Artes, Buenos Aires

A Problem of Image ?

Time Magazine under Christianity's Image Problem reports on a poll conducted in the United States about the "image" of Christianity.

"It used to be, says David Kinnaman, that Christianity was both big and beloved in the U.S. — even among its non-adherents. Back in 1996, a poll taken by Kinnaman's organization, the Barna Group, found that 83% of Americans identified themselves as Christians, and that fewer than 20% of non-Christians held an unfavorable view of Christianity. But, as Kinnaman puts it in his new book (co-authored with Gabe Lyons) UnChristian, "That was then."

Barna polls conducted between 2004 and this year, sampling 440 non-Christians (and a similar number of Christians) aged 16 to 29, found that 38% had a "bad impression" of present-day Christianity. "It's not a pretty picture" the authors write. Barna's clientele is made up primarily of evangelical groups.

Kinnaman says non-Christians' biggest complaints about the faith are not immediately theological: Jesus and the Bible get relatively good marks. Rather, he sees resentment as focused on perceived Christian attitudes. Nine out of ten outsiders found Christians too "anti-homosexual," and nearly as many perceived it as "hypocritical" and "judgmental." Seventy-five percent found it "too involved in politics."

Not only has the decline in non-Christians' regard for Christianity been severe, but Barna results also show a rapid increase in the number of people describing themselves as non-Christian. One reason may be that the study used a stricter definition of "Christian" that applied to only 73% of Americans. Still, Kinnaman claims that however defined, the number of non-Christians is growing with each succeeding generation: His study found that 23% of Americans over 61 were non-Christians; 27% among people ages 42-60; and 40% among 16-29 year olds. Younger Christians, he concludes, are therefore likely to live in an environment where two out of every five of their peers is not a Christian.

Churchgoers of the same age share several of the non-Christians' complaints about Christianity. For instance, 80% of the Christians polled picked "anti-homosexual" as a negative adjective describing Christianity today. And the view of 85% of non-Christians aged 16-29 that present day Christianity is "hypocritical — saying one thing doing another," was, in fact, shared by 52% of Christians of the same age. Fifty percent found their own faith "too involved in politics." Forty-four percent found it "confusing."

Christians have always been aware of image problems with non-believers. Says Kinnaman: "The question is whether to care." But given the increasing non-Christian population and the fact that many of the concerns raised by non-believers are shared by young Christians, he says, there really is no option but to address the crisis."

`To give her a better life’

The Times under "Mother wants disabled girl to have hysterectomy ‘to give her a better life’" reports on the English equivalent of the Ashley X case, where a 6 year old girl underwent surgery and hormone treatment to keep her at the size of a six-year-old child because her parents believed it would make her life more comfortable.

In this case, doctors are seeking legal approval to perform a hysterectomy on Katie Thorpe, 15, in a radical solution to her mother’s fears that the girl, who has cerebral palsy, will not be able to cope with the onset of adulthood.

Alison Thorpe wants the operation to go ahead at St John’s hospital in Chelmsford to protect Katie from the “pain, discomfort and indignity” of menstruation.

Legal guidance is being sought because Katie, who cannot walk or talk and is believed to understand little of what is said to her, is unable to give consent.

The sex secrets of Kennedy's Latin Primer

With the new Motu Proprio, the drive to learn Latin has started. Some of us were taught Latin with Kennedy's Latin Primer.

However according to Mary Beard, professor in classics at Cambridge and classics editor of the TLS, what we may have been learning was not entirely what we were led to believe, probably to the mirth of some Latin teachers.

Computer Problems

Apologies for the lack of posting. But since moving to Crystal Palace, the computer has been playing up considerably. Problems galore ! And that does not include the internet connection problems. ....

Tuesday, October 02, 2007

Portrait of a seated cardinal

Lewis, John Frederick (July 14, 1805 – August 15, 1876)
Portrait of a seated cardinal
Graphite, chalk (black and white), pastel (red), brush and ink (red and black) on paper (buff card)
Height: 37.2 cm; Width: 26.3 cm
Courtauld Institute of Art Gallery, London



John Frederick Lewis (July 14, 1805 – August 15, 1876) was an English painter. Lewis began his career as a painter of animal subjects. His career began in the studio of Painter in Ordinary to King George IV, Sir Thomas Lawrence.

For many years he worked exclusively in watercolour. His unique technique combined graphite, bodycolor, and watercolour as a single medium with the graphite used as primer, the watercolour for tone, and the bodycolour/watercolour for fine detail such as faces and instruments.

He travelled extensively in Spain and Northern Europe. Lewis lived in Spain between 1832 and 1834. The ten years spent living in Cairo from 1841 had a huge influence on his work. He made numerous sketches that he turned into paintings even after his return to England in 1851. He specialized in Oriental and Mediterranean scenes and often worked in oil and also in watercolour.

Lewis' art can be placed into three distinct categories: the animal paintings of his youth; the scenes of Spanish life from his adulthood; and from his middle and old age, the scenes of "Oriental" life inspired by travels to Constantinople and a decade living in Cairo

He lived in The Holme at Walton-on-Thames, Surrey until his death.
But who is the cardinal ?