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Thursday, May 15, 2014

Backbiters and Gossips


Dario Cerdoni (called  Dario da Treviso or Dario da Pordenone) (active 1440/ 1498)
San Bernardino da Siena / St Bernardine of Siena
c 1445
Tempera on panel
21,2 cm x 29,5 cm
Accademia Carrara, Bergamo, Italy

This was not the first image (or last) of St Bernardino of Siena painted by the bizarre and restless artist known to history as Darius from Pordenone, Darius from Treviso, or even Darius from Udine

He did not seem to stay in one place for long

But he remained in the Veneto Region

His most important work was a work which was destroyed and no longer exists:  the Madonna della Misericordia between St. John the Baptist and Saint Bernardine. made in 1450 for the Church of San Bernardino in Bassano

The pictor vagabundus may have felt an affinity with his Franciscan subject who traversed the length and breadth of Italy in the early 15th century and became known as "The Apostle of Italy"

Other images of the Saint by Darius include those now at the Museo Antoniano  in Padova, the Museo Poldi Pezzoli in  Milan and the County Museum of Art in Los Angeles 


Dario Cerdoni (called  Dario da Treviso  or Dario da Pordenone) (active 1440/ 1498)
San Bernardino da Siena / St Bernardine of Siena
c 1470
Tempera on panel
178.435 x 71.12 cm
County Museum of Art, Los Angeles 

The saint`s sermons inspired hundreds of thousands probably millions for generations

Today some of his themes (but only a few) are extremely controversial and no longer accepted: his tirades against gambling, usury, homosexuality

And it also has to be said he is not photogenic

He is always depicted as rather grim, definitely ascetic except perhaps those of Spanish painters like El Greco and Goya

The three bishops` mitres represent the three appointments to various important Sees in Italy which he rejected and turned down

But he was canonised scarcely six years after his death. He beat Pope Saint John Paul II to the altars

Yet his sermons are still worth reading with discretion for many of  his topics have a surprising topicality

From the beginning of his pontificate, Pope Francis has strongly criticised gossip and backbiting

"Unity is superior to conflict, always! Conflicts, ifnot properly resolved, divide us from each other,separate us from God. Conflict can help us to grow,but it can also divide us. Let us not go down the pathof division, of fighting among ourselves! All united, allunited in our differences, but united, always: this is theway of Jesus.  
Unity is superior to conflict. Unity is agrace for which we must ask the Lord that he mayliberate us from the temptation of division, of conflict between us, of selfishness, of gossip. How much evilgossip does, how much evil! Never gossip about others, never! "
Gossipers and backbiters were also a favourite target for St Bernardino of Siena. 

However his polemic and invective go far beyond what Pope Francis might feel is decorous. Here is an example from one of the Saint`s sermons. The language in the translation is rather antique and perhaps we could do with a fresh translation:
"Qfttimes the backbiter goeth about with a show kmdness and speaketh evil of others.  
He walketh under the shadow of a fair manner, seeming possessed of charity, and malice lurketh beneath.  
Knowest thou what he doth resemble? He is like to a canker, and outwardly he is glossed over, and such men as these when they wish to hide their malice do after this fashion ; ere they speak of a thing they send before an ambassador. And knowest thou who this ambassador is ? They send forth a sigh,  
What aileth thee, eh? What is it?  I have a great melancholy upon me ! Arid then he will begin and will say: Brother, what I am about to say, I will say for a good purpose, God knoweth it (and he giveth him the sure token ), in faith I wish to tell it thee. Such an one hath done such and such a thing'.  
It seems to me that such another is doing a certain wrong, in my opinion. He doeth this or that, and to me it doth appear that he hath the wish to do thus and thus. And he will say very many things, and in all these he will lie in his throat.  
This evil tongue that doth in this way is like to the scorpion, which doth perform three things, and all maliciously. First, it licketh with its tongue ; second, it encircleth with its claws, third, with its tail it doth twist it, and lift it into the air, and then it doth bite. In this samemanner doth the backbiter do ... 
If thou seest that another doth evil, correct him ^o that which not with a slandering tongue, but with a kind manner, as  the Church hath taught thee. There are very many who see no other evil than that which their neighbour doth perform. 
Art thou here, thou who seest no wrongdoing but that of others ? Pay heed to that which the Gospel saith when it telleth thee that thou seest the mote in the eye of thy neighbour and seest not the beam in thine own.  
And therefore I say to these, see to it that thou dost correct thine own defect, and so thou wilt do better than if thou dost correct others while thou thyself remainest in sin. women, to what are ye bound ? Know ye .what ? Both that ye shall perform good and that ye shall give good example"

Monday, May 12, 2014

San Isidro Labrador (Saint Isidore the Farmer)


Luis Salvador Carmona (1708 – 1767)
San Isidro Labrador (Saint Isidore the Farmer)
1753 - 1761
Marble sculpture
88 cm x 124 cm x 19 cm - 255,6 kg
Museo Nacional del Prado, Madrid

San Isidro Labrador (Saint Isidore the Farmer)  (c. 1070 – 15 May 1130) is not as venerated as he should be in Western Europe as he is in Spain and the former Spanish Empire

We are probably more used to the great Doctor, Saint Isidore of Seville

However unlike the great Doctor, San Isidro Labrador was probably illiterate

We do not give agriculture and the people who work on the land the honour and respect they deserve

Nowadays we do not get food from the land. We get it from Tesco, Marks and Spencer and the other huge retail conglomerates which dominte our town and cityscapes

We do not have any idea how food is produced and how much effort now and in the past was expended in producing what we need to survive on a daily basis

Poor and a day labourer San Isidro is the patron saint of farmers and day labourers and of Madrid and many other countless villages, towns and cities in Iberia and Spanish speaking lands

His importance in the 17th century is shown by the fact that when Gregory XV canonised him he was one of the five saints canonised that day. He was canonised along with  Saints Ignatius of Loyola, Francis Xavier, Teresa of Avila, and Philip Neri

His life is a reminder of the dignity of work and how sanctity can arise in ordinary everyday life as well as the importance of family life as well as sexual abstinence within marriage


The huge and heavy marble relief by the late Baroque sculptor, Carmona, brings out these points of the life of San Isidro

San Isidro stands with spade in the act of mystical ecstasy. On his right his wife, Santa María de la Cabeza brings an ear of corn 

On the left  the knight Juan de Vargas who was the saint`s master or employer kneels to greet the saint, his horse follows with his servant holding  the bridle. 

At the bottom, left and right, we see  buildings in Madrid which is where the saint and his wife came from and lived and died

He worked the fields around  Torrelaguna outside Madrid where his wife came from

The relief was one of 32 meant for the decoration of the Royal Palace in Madrid

The sculptor Carmona mainly carried out religious works and had helped his master Juan Alonso sculpt the theme of San Isidore and his wife before most notably for the Bridge of Toledo in Madrid


Saint John XXIII venerated him and proclaimed him Patron Saint of Spanish Farm Labourers in 1960

he perhaps alone of the modern Popes  (apart from Saint Pius X) would have felt some empathy towards this saint

Sunday, May 11, 2014

The Quadruple Psalter


Psalterium quadruplex
Of Bishop Salomo III. (890-920), Bishop of Constance and Abbot of St Gallen
Second quarter of 10th century
Ink on Parchment
410 x 315 mm
Dombibliothek, Köln


This psalter was commissioned by Salomo III Bishop of Constance and Abbot of St. Gallen, Switzerland  from AD 890  to 920

St Jerome revised his translations of the Psalms three times

He revised the Old Latin version of the text (382-385), then translated a Greek text (386/387) and then the Hebrew text (392) into the Latin language

The three texts are then counterposed against each other as well as against  the Greek version in Latin translation

The psalter was therefore used for scholastic study: to compare the four versions of the text

This "Quadruplex" psalter was popular and all versions are apparently derived from a  manuscript (also from St Gallen), now in the State Library of Bamberg (Psalterium quadrupartitum. St. Gallen, 909 Msc.Bibl.44), for which see below:



Dr  Sally Dormer in her Gresham College, London lecture entitled Illuminated Psalter Manuscripts (29 May 2012) said:
"Numerous independent Psalters survive from the 9th to the 15th centuries, suggesting that the Psalms were cherished texts, and there are plentiful references to men and women knowing the entire Psalter off by heart, indicating that they were read frequently.  
Why were they so highly prized? A selection of Psalters, suggests the main reasons for their popularity and four categories of people who owned and used such books. 
Scholars, the majority of whom were churchmen, viewed the Psalms as texts that repaid fine-tooth combed study and analysis.  
Psalters made for scholarly study lack significant decoration and illustration and may include a number of different versions of the Psalms. This 10th-century example from Cologne [see above] is a quadruple Psalter.  
Each page carries four Latin versions of the Psalms, three of which were translated by St Jerome in the late 4th century.  
The Roman, on the left, is the earliest Jerome version, translated from an earlier Latin version in c. 384, and the most commonly used up to the 9th century.  
The second column is the Gallican version, so-named because of its early popularity in Gaul. 
This was translated from a Greek version, c. 390-405, and becomes most common in the 10th and 11th centuries. It also provided the basis of the Vulgate version of the Psalms used today. 
The Hebrew occupies the third column, translated from Hebrew in c. 390, a Latin version usually restricted to scholarly Psalters.  
The textual variants between these three Latin Jerome versions are slight, but significant  
The fourth column in this Psalter is occupied by a non-Jerome Latin version of the Psalms, and is easily distinguished textually from the other three.  
All four versions are kept in careful step with one another, in terms of layout, verse by verse, to facilitate easy cross referencing by an investigating scholar. 
Multi-version Psalters tend to be the exception rather than the rule ... 
Ecclesiastics of every kind knew the Psalms intimately.  
As early as the 5th century Gennade, the Patriarch of Constantinople, refused to ordain clerks who had not memorised the Psalter, and the late 6th-century Pope Gregory I refused to award one of his pupils with an episcopate for the sole reason that he did not know his Psalter.  
In 653 the Eighth Council of Toledo decreed that all ecclesiastics should know their Psalms.  
The Psalms were divided between the Canonical Hours over each seven-day period so that monks and nuns recited all the Psalms, at least once a week, as part of their celebration of the liturgy."

It has been said of Abbot Salomo:
"The abbacy of Salomo (890-920) was the golden age of the  monastery. An orphan of noble birth and the heir to a large  fortune, he was educated at St Gall by Notker Balbulus and others. 
Through the influence of Grimald he became Court Chaplain and Chancellor to Louis the German (843-876). It was  his duty to draw up the royal edicts and charters; as an adviser  of the King he had unbounded influence.  
Being handsome, intellectual, and of pleasant address, he was  a favourite at court. Four successive monarchs confided in him and valued his counsels. In 890 Arnulf (877-899), grandson of  Louis the German, elected him Abbot of St Gall, and in the same  year also appointed him to the see of Constance, as Salomo III.  
Like his friend Hatto, Bishop of Mainz, he became one of the  most trusty supporters of the Carlovingian dynasty. ... 
During the thirty years of Salomo's rule the Abbey had not  only acquired vast wealth, it had also reached its culminating  point as a centre of learning." 
(J M Clark, The Abbey of St. Gall as a Centre of Literature and Art, 1926, Cambridge University Press)

Saturday, May 10, 2014

Blessed Pope Paul VI


Giovanni Conservo  (1935 - 2010)
Papa Paolo VI
1977
Aquarelle on panel
30 x 25 cm
Centro studi "Paolo VI" sull'arte moderna e contemporanea,  Concesio




Aldo Carpi (1886–1973)
Paolo VI e Athenagora
1968
Oil on canvas
80 x 80 cm
Centro studi "Paolo VI" sull'arte moderna e contemporanea,  Concesio



Pietro de Paolis
Portrait of Paul VI with Mitre
1970
Dry pastel on panel
50 x 35 cm
Centro studi "Paolo VI" sull'arte moderna e contemporanea,  Concesio



Dina Bellotti 1912 - 2003
Paul VI in audience
1968 - 70
Tempera on panel
130 x 200 cm
Centro studi "Paolo VI" sull'arte moderna e contemporanea,  Concesio



THe good news is that Pope Francis will beatify Paul VI on 19th October

A much underestimated Pope whom Pope Benedict XVI held in the highest esteem and for whom he began the process of "rehabilitation" in 2008/9

There are some who will not welcome this decision

However his personal piety is beyond doubt

Pope Pius XII made him Archbishop of Milan and offered him a red hat which he turned down. It is difficult to believe that Pius XII would have done this if he had any doubts about his personal character

Saint Pope John XXIII held him in high esteem. He elevated him to the cardinalate and summoned him to his deathbed

He transformed the Church while adhering to the essentials of Tradition

Thursday, May 08, 2014

Bishop Juan Caramuel y Lobkowitz





The  cathedral of Sant’Ambrogio  in Vigevano, Northern Italy


The city of Vigevano lies about 35km from Milan and Pavia in Northern Italy


There has been a church on the site since at least  AD 963

The present Cathedral was begun by Francesco II Sforza (a local boy made good) in 1532  but was not consecrated until 10th  March 1612

The present facade was not constructed until 1678

The facade is high baroque and faces  towards the Piazza Ducale and the side of Via Roma. 

The front is slightly curved and is joined to the church only once, the rest is made ​​up of a wing that connects the front of the church with the rest of the square. 

It has an interesting geometrical relationship to the square which is cleverly adjusted to bring the ancient cathedral into a line perpendicular to and centered on the axis of the piazza

The design with four bays rather than three or five masks the church’s skewed orientation to the square 

The portal on the far left leads simply to a street 

The facade was designed and constructed by Vigevano`s then bishop, the great polymath Juan Caramuel y Lobkowitz (May 23, 1606 — September 8, 1682 )

He was a Spanish Catholic scholastic philosopher, ecclesiastic, mathematician and writer.

He was a Cistercian monk and very widely travelled

He was a child prodigy but entered the Church

He studied in Spain and the Low Countries

He was made Spanish envoy to the court of Emperor Ferdinand III in Prague

He held a number of offices before becoming bishop including being the Abbot of Melrose Abbey in Scotland

He became bishop of two Italian sees in which he was resident before coming to his final see at Vigevano



Lucas Vorsterman I (1595–1675)
Portrait of Juan Caramuel y Lobkowitz, seated behind a table, holding a book and wearing a biretta 
Engraving
281 mm x 186 mm
The British Museum, London


He wrote many works on many subjects.

He had a special affinity for Architecture


He argued  the superiority of ‘oblique’ architecture to ‘straight’ (Vitruvian) architecture

He censured  Bernini’s designs for the colonnade around St. Peter’s Square and staircase (Scala Regia) in the Vatican, as  well as the  equestrian statue of the Emperor Constantine 

He was obsessed  with geometry and optical distortion 

In his own account, he mastered architectural techniques with Cistercian monks as a young novice at the Monasterio de la Santa Espina (Valladolid),

He began writing this work  in 1624, and in 1635 commenced production of the 161 copper matrices eventually used for its illustrations

However his only known finished architectural work is the facade of the cathedral of Vigevano

Here are some of the beautiful plates from this work

They were engraved by  Bugatti, Simone Durelli and Cesare Laurentino, and one by Barend de Bailliu. :



Plate A  The Temple of Jerusalem


Plate B The Brass Vessel in which the Holy Priests Would Wash
See 1 Chronicles 18:8
"Necnon de Thebath et Chun, urbibus Adarezer aeris plurimum, de quo fecit Salomon mare aeneum, et columnas, et vasa aenea."



Plate C Vessels in the Temple of  Jerusalem



Plate G



Plate H Monastery of the Escorial in Madrid



Plate 29 Map Atlas



Plate 36 Eclipse of the Sun  10th June 1676



Plate 13 Palatium Reguli on the Island of S Dominici discovered by Spain



Plate XXX Voluta III



Plate XXXV Voluta VIII



PLate XLII  Ionic Capitals



Plate LI Column from the Temple of Vulcan



Plate LIX



Plate 33 St George Slays the Dragon : Two Views



Plate 34 St George and the Dragon


Monday, May 05, 2014

Old Saint Paul`s


Wenceslaus Hollar (Wenzel Vaclav) (1607–1677)
Old Saint Paul's, South side (Ecclesiae Cathedralis St. Pauli, A Meridi Prospectus)
1658
Etching; first state of two Dimensions
21.5 x 28.5 cm
The Metropolitan Museum of Art, New York



Wenceslaus Hollar (Wenzel Vaclav) (1607–1677)
Old St Paul`s Cathedral seen from the East
Pen and brown ink and brown and gray wash over black chalk, squared in black chalk, and incised
7.7 x 22.4 cm
The Metropolitan Museum of Art, New York



After Wenceslaus Hollar (1607-1677) 
Old St.Paul's, choir screen.
Print
The Royal Collection, Windsor
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014



Wenceslaus Hollar (1607-1677) 
Old St Paul's: Interior of east end. View of St. Mary's Chapel behind high altar, showing 7 lancet windows and rose window.
Etched 1656, published 1658
Print
The Royal Collection, Windsor
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014




Wenceslaus Hollar (1607-1677) 
Navis Ecclesiae Cathedralis S. Pauli Prospectus Interior: 
Interior view of Old St Paul's Cathedral; the whole perspective of the nave and of the choir beyond the choir screen
From William Dugdale's 'The History of St Pauls Cathedral in London' (London, 1658 and 1716).
Etched 1656, published 1658
402 x  356 mm
The British Museum, London



Wenceslaus Hollar (1607-1677) 
Tombs of Sebba and of Ethelred at Old St Paul's Cathedral.
Etched 1656, published 1658
Print
THe Royal Collection, Windsor
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014



Wenceslaus Hollar (1607-1677) 
Tomb of John of Gaunt at Old St Paul's Cathedral
Etched 1656, published 1658
Print
The Royal Collection, Windsor
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014



Wenceslaus Hollar (1607-1677) 
Tomb of St Erkenwald at Old St Paul's Cathedral
Etched 1656, published 1658
Print
The Royal Collection, Windsor
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014



Wenceslaus Hollar (Wenzel Vaclav) (1607–1677)
The monument of John Colet in Old St Paul's Cathedral, with bust of Colet, and skeleton below
From William Dugdale's 'The History of St Pauls Cathedral in London' (London, 1658 and 1716).
1658
Print
276 x 197 mm
The British Museum, London



Wenceslaus Hollar (Wenzel Vaclav) (1607–1677)
Tombs of Bishops of London Henry of Wingham, at left, (c. 1262) and Eustace de Fauconberg, (1170 c - 1228) at right, behind a row of five Gothic arches, their effigies with head to right
From William Dugdale's 'The History of St Pauls Cathedral in London' (London, 1658 and 1716).
1658
Print
212 x 275 mm
The British Museum, London



Wenceslaus Hollar (Wenzel Vaclav) (1607–1677)
Tomb slabs of John Newcourt and an unnamed ecclesiastic in Old St Paul`s Cathedral, London
From William Dugdale's 'The History of St Pauls Cathedral in London' (London, 1658 and 1716).
1658
Print
259 x 189 mm
The British Museum, London


Old St Paul's Cathedral was the medieval cathedral of the City of London  that, until 1666, stood on the site of the present St Paul's Cathedral. 

Built from 1087 to 1314 and dedicated to Saint Paul, the cathedral was the fourth church on the site at Ludgate Hill.

From the cathedral's construction until its destruction, the shrine of Saint Erkenwald  was a popular site for pilgrimage.

At the Reformation the Cathedral went into decline

At one point the Lady Chapel became a large preaching auditorium, while the vast nave was used as a cavalry barracks with, at one point, 800 horses stabled inside.

Fearful that the Cathedral would be destroyed during the Protectorate, Lord Hatton  commissioned the antiquarian William Dugdale`s The History of St Pauls Cathedral in London' (London, 1658 )

The book can be accessed here

The plates  were by the Bohemian, Wenceslaus Hollar (Wenzel Vaclav) (1607–1677)

After the Great Fire of London, the old cathedral was demolished and the new Wren construction rose from the ashes

In his Preface, Dugdale quoted rom Sir Walter Raleigh`s History of the World:
"That all cost and care bestowed and had of the Church wherein God is to be served and worshipped was accounted by those people a kinde of Popery; so that time would soon bring it to passe, if it were not resisted, that God would be turned out of Churches into Barnes; and from thence again into the Feilds and Mountains, and under Hedges; and the offices of the Ministry (robbed of all dignity and respect) be as contemptible as those places; all order, discipline and Church government left to newness of opinion and mens fancies; yea, and soone after, as many kindes of Religion spring up, as there are Parish-Churches within England; every contentious and ignorant person cloathing his fancie with the Spirit of God, and his imagination with the gift of Revelation, &c."
Dugdale said that the purpose of his work, his mission was that in regard to St Paul`s which was "one of the most eminent Structures of that kinde in the Christian World", he wanted "to transmit them [the sights of St Paul`s] to the veiw of those who were never like to see them in specie"

Dugdale was assisted by his chance discovery that hampers full of documents from the Cathedral's early archives, many dating from the 14th and 15th centuries, were mouldering in the cellar of the man Oliver Cromwell had appointed to supervise property confiscated from the Deans and Chapters of England's Cathedrals (which included the building, contents and archives of St. Paul's). 

Dugdale`s account was of the first detailed studies of a single building ever published. 

Unfortunately we are not as fortunate with Old St. Peter's Basilica, the building that stood, from the 4th to 16th centuries, on the spot where the St. Peter's Basilica stands today in Vatican City.

The final demolition of the Old St Peters was around  1606

Sunday, May 04, 2014

Monasticon Anglicanum




























More than five hundred years after the Reformation in England,one of the reasons why we have anything about the great medieval abbeys and churches is due to the work of two antiquarians, Sir William Dugdale (12 September 1605 – 10 February 1686) and Roger Dodsworth (1585–1654) 

Many of the  ecclesiastical buildings were looted, vandalised and left to the ravages of time

Dugdale and his associates began their work about one hundred years after the Henrician revolution and fortunately before the Commonwealth and then later the Glorious Revolution  which saw more vandalism and neglect of these great mighty relics of an age and Christianity gone past



The Monasticon Anglicanum printed selected charters recording gifts of land and churches to monastic houses in England and Wales: 1st edn [in Latin], 3 vols. (1655-73) with engravings mainly by Wenceslaus Hollar (13 July 1607 – 25 March 1677), and Daniel King. 

Hollar produced a variety of works; his plates number some 2740, and include views, portraits, ships, religious subjects, heraldic subjects, landscapes, and still life in many different forms. 

Almost complete collections of Hollar's work are kept in the British Museum, the print room at Windsor Castle and the National Gallery in Prague.

See also Richard Godfrey, Wenceslaus Hollar, A Bohemian Artist in England, Yale Center for British Art, New Haven (Ct.), 1995,