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Friday, December 29, 2006

Descent into Hell




The Times December 29, 2006

Descent into Hell
By
Rosemary Behan

"Is there anything more dispiriting than the post-Christmas rush to the sales? It surely shows Britain at its ugly, undignified worst.

At Brent Cross shopping centre on Wednesday, scuffles broke out as 5,000 people converged on Next. A female shopper, who appeared every bit your average woman on the high street, apparently thought nothing of spending some £2,000 on a selection of “cut-price” designer handbags. Another lady boasted at having acquired 17 pairs of shoes. What is wrong with these people? Is their existence so meaningless, their sex life so bad?"

Full story here

Thursday, December 28, 2006

Towards an Epiphany

Fra Angelico (c.1395-1455)
St. Stephen Preaching. 1447-1449.
Fresco.
Capella Nicolina, Vaticano, Rome


Fra Angelico (c.1395-1455)
St. Lawrence Receiving the Treasures of the Church from St. Sixtus. 1447-1449.
Fresco, 271 x 205.
Capella Nicolina, Vaticano, Rome



Fra Angelico (c.1395-1455)
Armadio degli Argenti c.1450.
Tempera on panel.
Museo di San Marco, Florence, Italy


Fra Angelico (c.1395-1455)
Armadio degli Argenti: Ezekiel's Vision of the Mystic Wheel. c.1450.
Tempera on panel, 38.5 x 37.
Museo di San Marco, Florence, Italy




In his Letter to Artists [The Vatican, 4 April 1999, Easter Sunday], Pope John Paul II wrote about the links between the Gospel and Art, singling out in particular the Blessed Fra Angelico:


"A fruitful alliance between the Gospel and art

6. Every genuine artistic intuition goes beyond what the senses perceive and, reaching beneath reality's surface, strives to interpret its hidden mystery.

The intuition itself springs from the depths of the human soul, where the desire to give meaning to one's own life is joined by the fleeting vision of beauty and of the mysterious unity of things.

All artists experience the unbridgeable gap which lies between the work of their hands, however successful it may be, and the dazzling perfection of the beauty glimpsed in the ardour of the creative moment: what they manage to express in their painting, their sculpting, their creating is no more than a glimmer of the splendour which flared for a moment before the eyes of their spirit.

Believers find nothing strange in this: they know that they have had a momentary glimpse of the abyss of light which has its original wellspring in God.

Is it in any way surprising that this leaves the spirit overwhelmed as it were, so that it can only stammer in reply? True artists above all are ready to acknowledge their limits and to make their own the words of the Apostle Paul, according to whom “God does not dwell in shrines made by human hands” so that “we ought not to think that the Deity is like gold or silver or stone, a representation by human art and imagination” (Acts 17:24, 29). If the intimate reality of things is always “beyond” the powers of human perception, how much more so is God in the depths of his unfathomable mystery!

The knowledge conferred by faith is of a different kind: it presupposes a personal encounter with God in Jesus Christ. Yet this knowledge too can be enriched by artistic intuition.

An eloquent example of aesthetic contemplation sublimated in faith are, for example, the works of Fra Angelico.

No less notable in this regard is the ecstatic lauda, which Saint Francis of Assisi twice repeats in the chartula which he composed after receiving the stigmata of Christ on the mountain of La Verna: “You are beauty... You are beauty!”. Saint Bonaventure comments: “In things of beauty, he contemplated the One who is supremely beautiful, and, led by the footprints he found in creatures, he followed the Beloved everywhere”.

A corresponding approach is found in Eastern spirituality where Christ is described as “the supremely Beautiful, possessed of a beauty above all the children of earth”. Macarius the Great speaks of the transfiguring and liberating beauty of the Risen Lord in these terms: “The soul which has been fully illumined by the unspeakable beauty of the glory shining on the countenance of Christ overflows with the Holy Spirit... it is all eye, all light, all countenance”.

Every genuine art form in its own way is a path to the inmost reality of man and of the world.

It is therefore a wholly valid approach to the realm of faith, which gives human experience its ultimate meaning.

That is why the Gospel fullness of truth was bound from the beginning to stir the interest of artists, who by their very nature are alert to every “epiphany” of the inner beauty of things."

Humanism and the Renaissance

RAFFAELLO, Sanzio (b. 1483, Urbino, d. 1520, Roma)
The School of Athens 1509
Fresco, width at the base 770 cm
Stanza della Segnatura,
Palazzi Pontifici, Vatican


RAFFAELLO, Sanzio (b. 1483, Urbino, d. 1520, Roma)
Disputation of the Holy Sacrament (La Disputa)1510-11
Fresco, width at the base: 770 cm
Stanza della Segnatura,
Palazzi Pontifici, Vatican




Raphael was called to Rome toward the end of 1508 by Pope Julius II.

Raphael`s greatest work is probably the decoration of the Stanza della Segnatura in the Pontifical Palaces.

Julius II commissioned Raphael with the interpretation of the philosophical scheme of the frescoes in the Stanza della Segnatura.

The four main fresco walls in the Stanza della Segnatura are occupied by the Disputa and the School of Athens on the larger walls and the Parnassus and Cardinal Virtues on the smaller walls.

The School of Athens is a complex allegory of secular knowledge, or philosophy, showing Plato and Aristotle surrounded by philosophers, past and present, in a splendid architectural setting. It illustrates the historical continuity of Platonic thought. The central figures are Plato and Aristotle at the converging point of the perspectival space. The philosophers congregate in a great basilica which is based on Bramante's design for the new St Peter's in Rome.

The Disputa, shows a celestial vision of God and his prophets and apostles above a gathering of representatives, past and present, of the Roman Catholic church. It represents the triumph of the church and the triumph of truth.

The painting is built around the monstrance containing the Eucharist. The Eucharist is the central image and theme of the painting. Without it, the meaning is lost. All the figures venerate the Host.

At the bottom of the picture space are saints, popes, bishops, priests and the mass of the faithful.

They represent the Church Militant, the Church which has acted, and which continues to act, in the world.

Raphael has placed portraits of famous personalities, both living and dead, among the people in the crowd. Bramante leans on the balustrade at left; the young man standing near him has been identified as Francesco Maria Della Rovere. Pope Julius II, who personifies Gregory the Great, is seated near the altar. Dante is visible on the right, distinguished by a crown of laurel.


From The Vatican, on 4 April 1999, Easter Sunday, Pope John Paul II issued A Letter to Artists. Amongst other things, he discussed the topic of Humanism and the Renaissance and its relevance to today.

He wrote:

"Humanism and the Renaissance

9. The favourable cultural climate that produced the extraordinary artistic flowering of Humanism and the Renaissance also had a significant impact on the way in which the artists of the period approached the religious theme. Naturally, their inspiration, like their style, varied greatly, at least among the best of them. But I do not intend to repeat things which you, as artists, know well. Writing from this Apostolic Palace, which is a mine of masterpieces perhaps unique in the world, I would rather give voice to the supreme artists who in this place lavished the wealth of their genius, often charged with great spiritual depth. From here can be heard the voice of Michelangelo who in the Sistine Chapel has presented the drama and mystery of the world from the Creation to the Last Judgement, giving a face to God the Father, to Christ the Judge, and to man on his arduous journey from the dawn to the consummation of history.

Here speaks the delicate and profound genius of Raphael, highlighting in the array of his paintings, and especially in the “Dispute” in the Room of the Signatura, the mystery of the revelation of the Triune God, who in the Eucharist befriends man and sheds light on the questions and expectations of human intelligence.

From this place, from the majestic Basilica dedicated to the Prince of the Apostles, from the Colonnade which spreads out from it like two arms open to welcome the whole human family, we still hear Bramante, Bernini, Borromini, Maderno, to name only the more important artists, all rendering visible the perception of the mystery which makes of the Church a universally hospitable community, mother and travelling companion to all men and women in their search for God.

This extraordinary complex is a remarkably powerful expression of sacred art, rising to heights of imperishable aesthetic and religious excellence. What has characterized sacred art more and more, under the impulse of Humanism and the Renaissance, and then of successive cultural and scientific trends, is a growing interest in everything human, in the world, and in the reality of history. In itself, such a concern is not at all a danger for Christian faith, centred on the mystery of the Incarnation and therefore on God's valuing of the human being. The great artists mentioned above are a demonstration of this. Suffice it to think of the way in which Michelangelo represents the beauty of the human body in his painting and sculpture.

Even in the changed climate of more recent centuries, when a part of society seems to have become indifferent to faith, religious art has continued on its way. This can be more widely appreciated if we look beyond the figurative arts to the great development of sacred music through this same period, either composed for the liturgy or simply treating religious themes. Apart from the many artists who made sacred music their chief concern—how can we forget Pier Luigi da Palestrina, Orlando di Lasso, Tomás Luis de Victoria?—it is also true that many of the great composers—from Handel to Bach, from Mozart to Schubert, from Beethoven to Berlioz, from Liszt to Verdi—have given us works of the highest inspiration in this field.

Towards a renewed dialogue

10. It is true nevertheless that, in the modern era, alongside this Christian humanism which has continued to produce important works of culture and art, another kind of humanism, marked by the absence of God and often by opposition to God, has gradually asserted itself. Such an atmosphere has sometimes led to a separation of the world of art and the world of faith, at least in the sense that many artists have a diminished interest in religious themes.

You know, however, that the Church has not ceased to nurture great appreciation for the value of art as such. Even beyond its typically religious expressions, true art has a close affinity with the world of faith, so that, even in situations where culture and the Church are far apart, art remains a kind of bridge to religious experience. In so far as it seeks the beautiful, fruit of an imagination which rises above the everyday, art is by its nature a kind of appeal to the mystery. Even when they explore the darkest depths of the soul or the most unsettling aspects of evil, artists give voice in a way to the universal desire for redemption.

It is clear, therefore, why the Church is especially concerned for the dialogue with art and is keen that in our own time there be a new alliance with artists, as called for by my revered predecessor Paul VI in his vibrant speech to artists during a special meeting he had with them in the Sistine Chapel on 7 May 1964. From such cooperation the Church hopes for a renewed “epiphany” of beauty in our time and apt responses to the particular needs of the Christian community."

Pius Number Nine




Dominicanus has a strange story entitled What did Pius IX smell like?

Apparently, a 69-year-old doctor says he has re-created the custom cologne worn in the 19th century by Pope Pius IX. The doctor found the purported recipe about seven years ago in a limited-edition 1963 cookbook published in the United States. The cookbook says the recipe is believed to have been passed down by the family of a French general who was in Pius' papal guard.

What did Pius IX smell like ? You`ll have to see Dominicanus

Hat tip to Overheard in the Sacristy

The Siege and Fall of Constantinople 1453




The Siege and Fall of Constantinople 1453

BBC Radio 4
In Our Time

Programme details Thursday 28 December 2006

The Siege and Fall of Constantinople 1453

When Sultan Mehmet the Second rode into the city of Constantinople on a white horse in 1453, it marked the end of a thousand years of the Byzantine Empire. After holding out for 53 days, the city had fallen. And as one contemporary witness described it: “The blood flowed in the city like rainwater in the gutters after a sudden storm”. It was the end of the classical world and the crowning of an Ottoman Empire that would last until 1922.

Constantinople was a city worth fighting for – its position as a bridge between Europe and Asia and its triangular shape with a deep water port made it ideal both for trade and defence. It was also rumoured to harbour great wealth. Whoever conquered it would reap rewards both material and political.

Earlier attempts to capture the city had largely failed – so why did the Ottomans succeed this time? What difference did the advances in weaponry such as cannons make in the outcome of the battle? And what effect did the fall of Constantinople have on the rest of the Christian world?

Contributors

Roger Crowley, author and historian

Judith Herrin, Professor of Late Antique and Byzantine Studies at King's College London

Colin Imber, formerly Reader in Turkish at Manchester University

More details:
http://www.bbc.co.uk/radio4/history/inourtime/inourtime.shtml

Also available as free MP3 podcast or download.

Day of the Holy Innocents - 28th December

GIOTTO di Bondone (b. 1267, Vespignano, d. 1337, Firenze)
The Massacre of the Innocents 1310s
Fresco
North transept, Lower Church, San Francesco,
Assisi



Holy Innocents’ Day.

Holy Innocents’ Day or Childermas, whether or not because of Herod's massacre, was formerly peculiarly unlucky; it was a day upon which no one, if he could possibly avoid it, should begin any piece of work. It is said of that superstitious monarch, Louis XI. of France, that he would never do any business on that day, and of the English Edward IV. that his coronation was postponed, because the date originally fixed was Childermas.

In Cornwall no housewife would scour or scrub on Childermas, and in Northamptonshire it was considered very unlucky to begin any undertaking or even to do washing throughout the year on the day of the week on which the feast fell. Childermas was there called Dyzemas and a saying ran: “What is begun on Dyzemas Day will never be finished.” In Ireland it was called “the cross day of the year,” and it was said that anything then begun must have an unlucky ending.

The Holy Innocents were the patron saints of amongst others, choirboys.

In Christmas in Ritual and Tradition by Clement A. Miles [1912]
http://www.sacred-texts.com/time/crt/index.htm there is some explanation. The day was related to the Feast of Fools and the revel known as The Boy Bishop.

"The Boy Bishop.

Of older standing than the Feast of Fools were the Christmas revels of the deacons, the priests, and the choir-boys. They can be traced back to the early tenth century, and may have originated at the great song-school of St. Gall near Constance.

The most important of the three feasts was that of the boys on Holy Innocents’ Day, a theoretically appropriate date.

Corresponding to the “lord” of the Feast of Fools was the famous “Boy Bishop,” a choir-boy chosen by the lads themselves, who was vested in cope and mitre, held a pastoral staff, and gave the benediction. Other boys too usurped the dignities of their elders, and were attired as dean, archdeacons, and canons.

Offices for the festival, in which the Boy Bishop figures largely, are to be found in English, French, and German service-books, the best known in this country being those in the Sarum Processional and Breviary. In England these ceremonies were far more popular and lasting than the Feast of Fools, and, unlike it, they were recognized and approved by authority, probably because boys were more amenable to discipline than men, and objectionable features could be pruned away with comparative ease.

The festivities must have formed a delightful break in the year of the mediaeval schoolboy, for whom holidays, as distinguished from holy-days for church-going, scarcely existed. The feast, as we shall see, was by no means confined within the church walls; there was plenty of merrymaking and money-making outside.

Minute details have been preserved of the Boy Bishop customs at St. Paul's Cathedral in the thirteenth century. It had apparently been usual for the “bishop” to make the cathedral dignitaries act as taper- and incense-bearers, thus reversing matters so that the great performed the functions of the lowly.

In 1263 this was forbidden, and only clerks of lower rank might be chosen for these offices. But the “bishop” had the right to demand after Compline on the Eve of the Innocents a supper for himself and his train from the Dean or one of his canons. The number of his following must, however, be limited; if he went to the Dean's he might take with him a train of fifteen: two chaplains, two taper-bearers, five clerks, two vergers, and four residentiary canons; if to a lesser dignitary his attendants were to be fewer.

On Innocents’ Day he was given a dinner, after which came a cavalcade through the city, that the “bishop” might bless the people. He had also to preach a sermon—no doubt written for him."

Wednesday, December 27, 2006

The Book of Kells










The Book of Kells was completed in about 800 AD.

The vellum (calfskin) manuscript contains transcriptions of the four Gospels, lavishly illustrated and ornamented. It is the most elaborate manuscript of its kind to survive from the early Middle Ages.

The scribes and artists who created the Book were Columban monks who lived in a monastery on the remote island of Iona, off the west coast of Scotland. The monastery was founded late in the sixth century by an Irish monk, St Columba.

The Book of Kells contains 680 pages (or 340 folios). Just two of the pages are without ornament, while about thirty folios, including some major decorated pages, have been lost.

The Book is in the Library of Trinity College, Dublin where it is permanently on display.

References:

The Book of Kells
http://www.bookofkells.ie

Paul DuBois
http://www.snake.net/people/paul

Austin College Acquires a Facsimile of Ireland's Book of Kells
by Jerry B. Lincecum
http://artemis.austincollege.edu/acad/english/jlincecum/jbl.bk.kells.page.html

St Columba

Martyrs` Bay, Iona


Celtic crosses, Iona


The Old Nunnery, Iona


The Oran Chapel, Iona





Saint Columba (7 December 521 - 9 June 597) is sometimes referred to as Columba of Iona, or, in Old Irish, as Saint Colm Cille or Columcille (meaning "Dove of the church").

Born In Ireland, he became a monk. He exiled himself from Ireland, to return only once again.

In 563 he traveled to Scotland with twelve companions, where according to his legend he first landed at the southern tip of the Kintyre peninsula, near Southend. However, being still in sight of his native land he moved further north up the west coast of Scotland. In 563 he was granted land on the island of Iona off the west coast of Scotland which became the centre of his evangelising mission to the Picts.

After spending some years among the Scots of Dalriada, Columba began the great work of his life, the conversion of the Northern Picts.

Columba's life was mainly spent in preaching the Christian Faith to the inhabitants of Northern Scotland.

From Iona he governed those numerous communities in Ireland and Caledonia, which regarded him as their father and founder. This accounts for the unique position occupied by the successors of Columba, who governed the entire province of the Northern Picts although they had received priest's orders only. It was considered unbecoming that any successor in the office of Abbot of Iona should possess a dignity higher than of the founder.

He was not only a great missionary saint but he was a statesman, a scholar, a poet, and the founder of numerous churches and monasteries. Columba’s monastery at Iona became a centre for Christianity with long reaching influence both in Ireland and Scotland. The Early History of Ireland identifies forty churces or establishments in Ireland and fifty-six in Scotland connected with St. Columba. Eventually Viking invasions lead to the abandonment of Iona as a major religious centre and as early as 804 the decision was taken to set up a new headquarters at Kells in Ireland.

He died the same year St. Augustine landed in Kent.

First buried on Iona, his relics were later transferred to Downpatrick to lie alongside St. Patrick and St. Bridget.

A convent for the Order of Benedictine Nuns was established in 1203, with Beathag, daughter of Somerled, as first prioress. The present Benedictine abbey was built in the same period.

Numerous martyrs and other saints were produced from Iona, including not only St. Columba but also St. Aidan of Lindisfarne and others. The monastery survived until the Reformation.

There are three main sources for Columba’s life. The work of Cuimíne Ailbe, Abbot of Iona from 657 to 669; Adomnán, Abbot of Iona from 679 to 704, and the Venerable Bede who lived 673-735.

References:

The Life of Columba, written by Adamnan
The Rule of St. Columba 6th Century
On the Life of St. Columba (Leabhar Breac), Translated by Whitley Stokes
Saint Columba: Fact and Fiction by Fr. Lester Michael Bundy,Professor of Religious Studies, Regis University
The Iona Community (Church of Scotland but ecumenical)
Iona Community Council (includes virtual tour of the island and neighbouring islands)

St Ninian

Hours of St Ninian. St Ninian, Bishop of Whithorn, with mitre and crozier.
Text beginning with decorated initial 'N'. Borders with foliate decoration.
Probably executed for a Scottish lady
France [possibly Bourges]; 15th century
British Library, London

St Ninian`s Chapel, Whithorn

St Ninian`s Cave, By Whithorn

Exhibits of Stones in Whithorn Priory Museum


St. Ninian(c. 360 - 432).
Also known as Ninias, Nynia, Ninus, Dinan, Ringan, Ringen


St. Ninian is a shadowy figure in history. He is acknowledged as Scotland's first saint with the date 397AD celebrated as the beginning of his mission to his people.

There is very little that we know about him.

Christianity existed in Scotland prior to St Ninian, yet his apostolate is the first distinct fact in the history of the Scottish Church. He is the earliest recorded Christian missionary north of Hadrian's Wall. He built the earliest known church in, what is now, Scotland. This was done about one hundred years prior to the landing of St Columba on Iona, and more than two hundred years before St Augustine came to Canterbury on the orders of Gregory the Great.

The earliest recorded reference is in Bede`s Historia Ecclesiastica Gentis Anglorum (Ecclesiastical History of the English People):

"... a most reverend bishop and holy man of the British nation, who had been regularly instructed at Rome, in the faith and mysteries of the truth; whose episcopal see, named after St.Martin the bishop, and famous for a stately church (wherein he and many other saints rest in the body), is still in existence among the English nation. The place belongs to the province of the Bernicians, and is generally called the White House, because he there built a church of stone, which was not usual among the Britons."

Bede lived from 673-735 AD

The original heartland of Bernicia seems to have been around the Tyne. During the 7th century,Bernicia united with the Kingdom of Deira. The unified kingdom, Northumbria, expanded west to the Irish Sea, and north to occupy much of, what is now, southern Scotland.

Ninian, says Bede, was a Briton. He was regularly trained at Rome. Further, he preached the gospel to the Picts who lived to the south of the Grampian mountains. Even these statements of Bede are qualified by his cautious 'as they relate,' showing that they were based on tradition which he considered worthy of credit. Early religious sites were not chosen at random; they were often in the neighbourhood of the seat of the local prince or king, and the position of Candida Casa suggests that Ninian was there with the approval of the British ruler of the district, whose consent and protection had been secured. Whithorn pre-dates St Ninian. It is mentioned by Ptolemy, the Alexandrian geographer, in the first half of the second century, A.D., as ` Leukopibia, ' a town of the Novantæ.

At the time when St Ninian was about to embark on his "instruction at Rome" three of the great masters or Doctors of the Church - St Ambrose (AD339-397), St Jerome (AD341-420), St Augustine (AD354-430)- were already in middle age. Ninian was a follower of St Martin of Tours (AD316-397). It was to Magnum Monasterium, Mór Muinntir, Marmoutier, close to Tours, (of which city, St Martin was bishop) that St Ninian went to study, before coming back to his homeland.

Fourteen years after the foundation of his settlement at Whithorn, the Roman Legions finally withdrew from Britain.

St Ninian's foundation at Whithorn was at first to be known as Muinntir Mór, but he himself called it after Martin's first foundation at Ligugé ( Logotegiacum being the Latin form of Ligugé) coming from the Celtic leuk (Gaelic geal, shining white) and tigh, a house. From this then came the name Candida Casa.

The next source for the life of St Ninian is Saint Aelred (Ethelred) of Rievaulx (c.1110-1167AD), a Cistercian monk.

This account is lengthy and must be regarded as being encrusted with legends and stories which had gathered about the saint over the 700 or so years after his death. He wrote:

"On the trustworthy testimony of this great author [Bede], we have been made acquainted with the origin of Saint Ninian ... But that which he briefly, in view of the tenor of his history, seemeth barely to have touched upon, a book of his Life and Miracles, written in a barbarous style, detaileth at greater length. This book, never varying from the foundation of this witness, hath recorded in historical fashion the way whereby he made this commencement, merited such fruit, and attained unto so worthy an end."

Aelred continues:

"Therefore in the island of Britannia ... did the blessed Ninian spring: in that region, it is supposed, in the western part of the island (where the ocean stretching as an arm, and making as it were on either side two angles, divideth at this day the realms of the Scots and the Angles) ..."

There is a strong mythological element to Ailred's account, and he makes the unlikely claim that Ninian was the son of a king.

At any rate, Ninian studied in Rome, and Aelred asserts that:

"The Roman Pontiff, hearing that some in the western parts of Britain had not yet received the faith of our Saviour, and that some had heard the word of the gospel either from heretics or from men ill instructed in the law of God, moved by the Spirit of God, consecrated the said man of God [Ninian] to the episcopate with his own hands, and, after giving him his benediction, sent him forth as an apostle to the people aforesaid."

On his return journey to Britain from Rome, Ninian spent some time with St.Martin de Tours, at Marmoutier Abbey.

"Ninian besought of the saint masons, stating that he proposed to himself that, as in faith, so in the ways of building churches and in constituting ecclesiastical offices, he desired to imitate the holy Roman Church. The most blessed man assented to his wishes; and so, satiated with mutual conversations as with heavenly feasts, after embraces, kisses, and tears shed by both, they parted, holy Martin remaining in his own See, and Ninian hastening forth under the guidance of Christ to the work whereunto the Holy Ghost had called him... he selected for himself a site in the place which is now termed Witerna [meaning 'White House'; modern Whithorn, Galloway], which, situated on the shore of the ocean, and extending far into the sea on the east, west, and south sides, is closed in by the sea itself, while only on the north is a way open to those who would enter. There, therefore, by the command of the man of God, the masons whom he had brought with him built a church, and they say that before that none in Britannia had been constructed of stone. And having first learnt that the most holy Martin, whom he held always in wondrous affection, had passed from earth to heaven, he was careful to dedicate the church itself in his honour."

When he died (c.432), Ninian was, says Aelred:

"... buried in the Church of Blessed Martin, which he had built from the foundations, and he was placed in a stone sarcophagus near the altar ..."

A full account of Aelred`s Life of St Ninian can be accessed in the Links section below.

Whithorn, in the seventh and eighth centuries onwards, was very much a focus of Christianity, very much at the centre of things spreading Christianity eastwards.

That Ninian`s work among the southern Picts was not permanent in all cases appears from the references of his younger contemporary St Patrick to the "apostate Picts" who shared with the British of Strathclyde and the pagan Scots of Alba in the spoil of Christian captives from Ireland.

But that failure - which may well have been only partial - did not mean the eclipse of Candida Casa.

That remained long an important centre of religious life and learning, widely known and much frequented. The Irish styled it Teach Martain, 'Martin's House'; Rosnat, which is a diminutive from ross and means 'Little Cape'; Magnum Monasterium, 'the great monastery'; and Futerna, the latinized Gaelic form of the old English Hwiterne, 'White House.'

Some of the most eminent of early Irish clerics were trained there, the last on record of them is Findbarr of Magbile (Moyville) who died in 579. He came, it seems, to study under Mugint - a Briton.

From about 730 till about 800 there were Anglic bishops at Whithorn, 'and beyond these,' says William of Malmesbury, 'I find no more anywhere; for the bishopric soon failed, since it was the furthest shore of the Angles, and open to the raidings of the Picts and Scots.'

The name of Ninian was honoured to the end: between 782 and 804 Alcuin writes 'to the brethren of Saint Ninian of Candida Casa,' and causes a silken shroud (velum) to be sent for the body 'of our father Nyniga.' It is clear that long before Hí was founded by Columba, Candida Casa formed a very important link between Ireland and Scotland.

The old succession of bishops died out about 804.

By the 900s Whithorn had been settled by the Norse, who continued to use the area around the church as a burial ground. The Norse were ousted by 1100 and the Bishopric of Whithorn was re-established in 1128. This bishopric comprehended the whole of Wigtownshire, and by far the greater part of Kirkcudbrightshire, or all of it lying West of the river Urr. It was divided into the three deaneries of the Rhinns, Farines, and Desnes, lying westward respectively of Luce Bay, of the Cree, and of the Urr.

This marked the start of the second era of Christianity at Whithorn, for work began almost immediately on a much grander cathedral to replace St Ninian's original church. The cathedral of the Bishop of Whithorn was probably complete by the time Whithorn also became a Priory of the Premonstratensian Order of White Canons in 1177.

Gilla Aldan, the first bishop, was consecrated by the Archbishop of York. His successors looked to York as their proper metropolitan till at least the 14th century. The bishops of Galloway afterwards, like all the Scottish bishops, became suffragans of St Andrews. But on the erection of Glasgow, in 1491, into an archbishopric, they, along with the bishops of Argyll, Dunkeld, and Dunblane, passed under the surveillance of that arch see.

The cathedral and priory were extended in the 1200s and later modified on a number of occasions. The result when viewed from the south east by 1500 would have been a large church of fairly traditional design with a cloister surrounded by ranges of domestic buildings beyond it.

After the Reformation in 1560 parts of the cathedral fell rapidly into disrepair.

Whithorn was long a noted place of pilgrimage, owing to its connection with the memory of Saint Ninian. In 1425 James I. granted a protection to all strangers coming into Scotland as pilgrims to the shrine. In 1506 the Regent Albany granted a general safe-conduct to all pilgrims from England, Ireland, and the Isle of Man.

Medieval pilgrims visited the shrine of St Ninian located in the vault of the Priory.A legend grew up that a cave about 5 miles away was the cave used by St Ninian for prayer. It is likely that in medieval times this cave was the site of a small church or shrine.

Many Scottish sovereigns, among them Margaret (queen of James III), James IV, and James V, made repeated pilgrimages to the saint's shrine, and left rich offerings behind them. The monastery, thus endowed, became opulent, and its income at the dissolution was estimated at over £1000.

The last prior (Fleming) was committed to prison in 1563 for the crime of saying Mass. But the practice of travelling to the shrine of St Ninian in quest of both physical and spiritual good, that, it continued for some time after the Reformation, and was not effectually put down till an Act of the Scottish parliament, passed in 1581, rendered it illegal.

The whole property of the priory was vested in the Crown by the annexation act of 1587, and was granted in 1606 by James VI to the occupant of the See of Galloway when he established Episcopalianism in Scotland in 1606.

The priory continued to belong to the bishopric until the revolution of 1688, at which date that see was the richest in the kingdom next to St. Andrews and Glasgow.

Little of the Priory survives today. The Romanesque cathedral is in ruins.

However in recent times there have been extensive archaeological investigations in and around the Christian sites at Whithorn. There has been much effort to re-discover the patrimony of the area which was long regarded as the cradle of Scottish Christianity.

The Priory, the Cave and the graveyards have been investigated. Many of the results now are within Historic Scotland`s Whithorn Priory Museum.

In the Museum are carved stones which were part of the Whithorn landscape, many of them standing within the precincts which surrounded an early church on the site of the medieval Priory. The earliest dates from around 450AD, but the majority were carved between 900AD and 1100AD.

Among the stones is the famous Latinus Stone, the earliest Christian stone in Scotland, which dates from about 450AD, less than 20 years after Ninian's death. It derives its name from its Latin inscription: "We praise you the Lord! Latinus, descendant of Barravados, aged 35, and his daughter, aged four, made a sign here."

The stone also carries a "chirho" symbol, the first two letters of Christ's name in Greek, Chi (X) and Rho (P), one overlaid on the other. This predates the use of the cross as a Christian symbol.

Another stone implores us to "Pray for Hwitu". The inscription dates from the 9th or 10th century when the area was controlled by the Anglians. Hwitu was a woman who took her name from the Old English place name for Whithorn itself which was Hwit-erne, meaning white house. She, and the loved ones requesting prayers for her soul, were probably people of some standing. Even though the cross was already old when the Anglo-Saxon runes were added, it was only the wealthy who could afford to be commemorated in such style.


References:


For modern accounts of the life of St Ninian, see:

Catholic Encyclopaedia
http://www.newadvent.org/cathen/11084a.htm
Wikipaedia (which refers to a theory that St Ninian may also be the medieval St Finnegan)
http://en.wikipedia.org/wiki/Saint_Ninian

For The Life of St Ninian by Ailred, Abbot of Rievaux
Translated from the Anglic language into Latin, see
http://www.ancienttexts.org/library/celtic/ctexts/ninian.html


For accounts of the history of Whithorn, see:

Catholic Encyclopaedia
http://www.newadvent.org/cathen/15614a.htm
Wikipaedia
http://en.wikipedia.org/wiki/Whithorn
The Whithorn Trust
http://www.whithorn.com/whithorn-scotland.htm
Whithorn Priory on Undiscovered Scotland
http://www.undiscoveredscotland.co.uk/whithorn/whithornpriory/index.html
Royal Burgh of Whithorn & District Business Association
http://www.whithorn.info/history/historyinfo.asp?rowID=24
Wikipaedia
http://en.wikipedia.org/wiki/Whithorn_Priory

For account and images of St Ninian`s Cave, see

Caves of Britain: St Ninian`s Cave
http://www.showcaves.com/english/gb/caves/Ninian.html


For The Whithorn Priory Museum and its exhibits:

Dumfries Museums
http://www.dumfriesmuseum.demon.co.uk/stones.html
Historic Scotland site
http://www.historic-scotland.gov.uk/properties_sites_detail.htm?propertyID=PL_301
Whithorn Priory Museum
http://www.work-interactive.com:81/historicscotland/home.php?mode=homepage

For discussions on Celtic Christianity, the following sites may be of interest. Despite the sandals, there was nothing "New Age" about Celtic Christianity.
http://en.wikipedia.org/wiki/Celtic_Christianity
and
The Angelus: December 2000, Volume XXIII, Number 12
The Early British Church by Rev. Fr. Gerard Culkin
http://www.sspx.ca/Angelus/2000_December/The_Early_British_Church.htm

For a history of early Monasticism in context of the history of the times and in the history of early Christianity, see
A Study of the History of the Early Church in the First Six Centuries:Notes from a course taught by
Dr. James B. North, Cincinnati Bible Seminary, Cincinnati, Ohio Spring 1990
http://www.fordham.edu/halsall/byzantium/texts/echhist.txt

Tuesday, December 26, 2006

Glasgow Cathedral




South Front






Rood screen


Clerestory


Glasgow Cathedral


Glasgow Cathedral is built on the site where St Kentigern, or Mungo, the first bishop within the ancient British kingdom of Strathclyde, was thought to have been buried in AD 612.

The present cathedral was built during the 13th to 15th centuries and is the only medieval cathedral on the Scottish mainland to have survived the 1560 Reformation virtually complete.

Blacader Aisle: This aisle, probably intended as an undercroft for a chapel above, is said to occupy the site of the cemetary consecrated at the beginning of the 5th century by St. Ninian.

It now stands as it was built during the primacy of Archbishop Blacader. The ceiling displays a number of carved bosses of late medieval character

References:

Glasgow Cathedral Official site
http://www.glasgowcathedral.org.uk/

The Society of Friends of Glasgow Cathedral
http://www.glasgow-cathedral.com/

Medieval City Map Trail
http://www.glasgow.gov.uk/en/AboutGlasgow/History/medievalcitymaptrail.htm

Birth of a City - St Mungo: before and after
http://www.glasgow.gov.uk/en/AboutGlasgow/History/Earliest+Beginnings.htm

Monday, December 25, 2006

The Saint with Two Names: St Kentigern/St Mungo




Two images above: Tomb of St Kentigern [St Mungo] in The Cathedral of Glasgow



Hoddom, near Lockerbie, Dumfriesshire: 300 metres from site of monastery of St Kentigern


Reconstruction of Monastery at Hoddom




Died c. 603-612; Farmer lists feast day as January 13. Most of what we know about Saint Kentigern mixes fact and fiction, because the only sources date from the 11th and 12th centuries. Many of the folkloric elements predate the written documents.

Kentigern is said to have been a native of Lothian, the son of Saint Thenaw (Thaney, Thenog, Theneva), a British princess. He was born at Culross.

He became a hermit at Glasghu (Glasgow) and was so renowned for his holiness that he was consecrated bishop of Strathclyde about 540 by an Irish bishop. There is reason to believe that he actually began his missionary efforts at Cathures on the Clyde, thus founding the church at Glasgow, and continued his missionary activities in Cumbria generally. He was, indeed, the first bishop of Strathclyde. During his bishopric, he revived the cultus of Saint Ninian and restored his church in Glasgow.

It is further related that political disorder drove him into exile in Carlisle and then into Wales, where he is said to have stayed with Saint David at Menevia. In the north again he is said to have lived at Hoddam, near Lockerbie (Dumfries) and Glasgow, where the saint died while taking a bath (!). He was buried in Glasgow cathedral.

The ring and fish displayed on the heraldic arms of the city of Glasgow refer to a legend about Saint Kentigern, in which he miraculously saves an unfaithful wife from the anger of her royal husband. The queen had given her husband's ring to her lover. The king discovered it, threw it into the sea and told his wife she must find it again in three days. Kentigern told her not to worry: One of his monks had extracted the ring from a salmon he caught.

Saint Kentigern is venerated at Carlisle and in Cumbria and Saint Asaph. Kentigern is the patron of Glasgow.

As a saint, he is venerated by the Church of Scotland, the Scottish Episcopalian Church, the Anglican Church, the Church in Wales, the Roman Catholic Church, the Eastern Orthodox Churches, and other denominations. Quite a feat for one man.


References:

Short and General Biographies:
Catholic Encyclopaedia
The Wikipaedia Encyclopaedia
Patrons Saints Index

There are far more detailed studies on the life of St Kentigern on the net.
Translations of The Life of Kentigern by Jocelyn, a monk of Furness are available at
Gypsyfire and
Internet Medieval Sourcebook at Fordham University, New York

A very detailed and learned thesis is presented at Cynthia Whidden Green: Saint Kentigern, Apostle to Strathclyde: A critical analysis of a northern saint

The site at Hoddom and the Archaelogical digs at it are at Churchyard of St Kentigern ,
Reconstruction of Hoddom, (Dumfries & Galloway) and Annan on Line

Other sites of interest in relation to St Kentigern:
Celtic Era Saints Especially good on the churches of St Kentigern in the North east of Scotland
Images of Cumbria
A surprising number of Churches in Cumbria dedicated to St Kentigern/St Mungo and other Celtic saints
Undiscovered Scotland on Glasgow Cathedral
Glasgow Cathedral Official website
'XXVII: Foundation of Chaplaincy at the altar of St Kentigern (1460)', Charters and Documents relating to the City of Glasgow 1175-1649: Part 2 (1894), pp. 45-52


Sunday, December 24, 2006

KTO-TV




KTO-TV is a Catholic TV station in France. It was set up by the Archdiocese of Paris. It started in December 1999 and deals with spirituality, faith, documentaries, education, liturgy, prayer and culture.

I just came across it recently and was surprised at the slickness and professionalism of the station.

On its website, it has a large number of free video downloads which may be of interest even for non-French speakers. The videos are old programmes broadcast by the station.

It is a site worth exploring.

Amongst the videos are:

A Concert in Honour of Benedict XVI in the Sistine Chapel. It was given by the Choir of the Cathedral of Ratisbon which used to be under the direction of the Pope`s brother, Georg Ratzinger. Worth a look even if it is only for the sight of the treasures in the Sistine Chapel. (60 minutes)

Four Concerts by Choirs in Notre Dame, Paris. Again, various choirs, including Haitian, and one from Cameroon. Worth a glance to see Notre Dame again especially the Chapel of St Georges.

Documentary: Life of John Paul II (ten parts) Quite a lot of footage which I had not seen before on British TV. Includes one entitled In the Heart of the Vatican, showing various scenes in the Vatican not usually seen by us tourists. It`s called Jean-Paul II : Au coeur du Vatican

Scrooge 'was a victim of brain disease'



The Sunday Times
December 24, 2006

Scrooge 'was a victim of brain disease'
John Harlow, Los Angeles

IT WAS the night before Christmas and Ebenezer Scrooge was facing a succession of supernatural terrors; or, as the latest medical thinking would have it, he was succumbing to a brain disease so obscure that doctors would not give it a name for another 150 years.

A pair of medico-literary sleuths claimed last week to have tracked down the illness that haunted Scrooge. They concluded that Charles Dickens brilliantly observed the symptoms in A Christmas Carol.

Robert Chance Algar, a Californian neurologist, and his aunt Lisa Saunders, a medical writer and physician, believe that the affliction that made Scrooge a byword for miserliness and redemption was Lewy body dementia (LBD), a disease so complex that doctors did not include it in the medical lexicon until 1996.

Full story on Scrooge here

Virgin and Child with Cat



Leonardo da Vinci, (1452-1519)
Virgin and Child with Cat
Florence, Italy, around 1478-81
Height: 130 mm
Width: 94 mm
A drawing on Paper
Drawn with a quill pen and iron-gall ink.
British Museum, London



The drawing shows the seated Virgin holding the Christ Child on her right knee. The Child in turn grasps a cat which struggles to escape. The forms twist and turn within the space defined by the thin line of an arch. The moving figures form a triangle or pyramid. At the top left of the sheet, the outline of a clock suggests that the sketch was a study for the Virgin and Child in a domestic setting.

Leonardo made a number of drawings of this theme, but no painting of the Virgin and Child with Cat survives. Instead, the geometry and balance of the composition and sense of movement became characteristic of his High Renaissance style.

Saturday, December 23, 2006

I was glad (C.H.H. Parry)

Choir of King's College, Cambridge performing the anthem "I was glad when they said unto me".

Winchester Cathedral Choir - Sing Joyfully

Winchester Cathedral Choir - Sing Joyfully

Saint Paul's Cathedral Choir

"Let All the World in Every Corner Sing", sung by the Saint Paul's Cathedral Choir of the Saint Paul's Cathedral in London, England

Jesus Christ the Apple Tree

Choir of King's College, Cambridge singing "Jesus Christ the Apple Tree" during a 2004 carols service.

In dulci jubilo

Choir of King's College, Cambridge performing "In dulci jubilo" during a 2000 carols service

Friday, December 22, 2006

The "Ospedale degli Innocenti" (The foundling children's hospital or orphanage) in Florence
















Interior Courtyard














Christmas brings to mind new born children. The children are wanted. Childbirth is associated with a cause for celebration.

What happens when perhaps the child is not wanted ?

This has been an age old problem. Children were (and are) often abandoned as unwanted. Nowadays the numbers are not as great as they were before, for well known reasons.

In past times such children were often simply abandoned and left to die.

Such desertion was regarded as contrary to the law of nature.

As a solution, in Renaissance Florence, they founded the "Ospedale degli Innocenti" (The foundling children's hospital or orphanage).

The "Ospedale degli Innocenti." is the oldest known institution continuously devoted to the welfare of children.

It is one of the most beautiful buildings in Florence. It is not hidden up a side street. It is situated in one of the largest and beautiful squares in Florence: Santissima Annunziata. It is a short walk from the Convent of San Marco and the Accademia.

The first “innocente” was left at the “spedale” on February 5, 1445, 10 days after the official opening. The process has been described by Viazzo PP, Bortolotto M, Zanotto A. Abandoned children. In: Panter-Brick C, Smith ME, eds. Five Centuries of Foundling History in Florence thus:
“In the beginning, children who were not handed over directly to hospital officials were abandoned in a sort of basin situated on the right side of the front portico, beneath a window that opened into an inside room where a woman was on permanent duty waiting for an infant’s first cry. This basin was removed around 1660, when a wheel was built on the left side of the same portico.” (p. 70)

Infants were left in the wheel until 1875.

It is now a a child care centre and provides community child welfare services, including placement in foster care and monetary support.

Historians of architecture identify it as the first truly Renaissance structure. It was also the first commission of Filippo Brunelleschi (b. Florence, Italy 1377; d. Florence, Italy 1446) , the architect and engineer of the early Italian Renaissance. The building itself and how it came into being represents an important social and cultural landmark of Humanism during the "Quattrocento."

In 1294, the General Council of Florence delegated responsibility for the care of the "innocenti" to a powerful guild in the city, the "Arte della Seta," or Silk Guild. For more than a century, the guild had had substantial experience in providing sanctuary for foundlings.

In 1419, they requested and obtained the right to a bequest of 1000 florins to build a facility entirely for children. "Arte della Seta" planned to present the "Ospedale degli Innocenti" to Florence as a grand demonstration of their beneficence to the city. It also reflected the importance they assigned to the care of abandoned infants "deserted by their parents contrary to the law of nature".

The Silk Guild chose Brunelleschi, one of their own members since 1404, to be the master builder, or "capomaestro." in 1424.

Brunelleschi was "capomaestro" of the "Ospedale" only until January 1427, 18 years before the completion of the building in 1445. Brunelleschi`s original plans were altered. The amendments included: kitchens; additional space above the loggia; refectories for both men and women; a column-lined courtyard for women, the "Cortile delle Donne"; and facilities for women in need of obstetric services. This required an additional entrance at the south end of the building.

Brunelleschi's design, which was based on Classical styles with simple rhythm, held simple ratios in the columns and Roman arches. If a horizontal line is drawn from the top of each column, a square is created out of the height and width of the column and the distance from one column to the next. The diameter of each arch is also the same distance as the height of each square. Above each column is a tondo style, terra cotta sculpture, which were added after Brunelleschi's initial design. The sculptures came from the workshop of the della Robbias.

Many changes occurred to the interior as well as the exterior of the building over the centuries. In the 1970s, the "Ospedale" was restored with modifications aimed at returning the building to some degree to its early 15th century state and at the same time modernizing it for current usage.


References:

This note has relied on an excellent article on The Ospedale by Lawrence Kahn MD in Pediatrics 2002;110;175-180 entitled The "Ospedale degli Innocenti" and the "Bambino" of the American Academy of Pediatrics. The article can be accessed at http://pediatrics.aappublications.org/cgi/reprint/110/1/175.pdf.

He points out that the symbol of the American Academy of Pediatrics is derived from one of the brightly glazed terra cotta bas-reliefs sculpted by Andrea Della Robbia that adorn the Ospedale.

One may find views of Brunelleschi's Ospedale degli Innocenti with architectural notes at:
http://www.bluffton.edu/~sullivanm/ospedale/ospedale.html

Biography of Brunelleschi:
http://gallery.euroweb.hu/bio/b/brunelle/biograph.html
http://www.wga.hu/frames-e.html?/html/b/brunelle/ospedal2.html
http://en.wikipedia.org/wiki/Brunelleschi
http://www-history.mcs.st-andrews.ac.uk/Biographies/Brunelleschi.html (from a mathematician`s point of view)

Images of some of Brunelleschi`s works:
http://www.wga.hu/frames-e.html?/html/b/brunelle/ospedal2.html