Elsewhere: An Anglo-Catholic Designer You Should Know

Screen Shot 2018-03-13 at 1.40.54 AM.png

A reredos by John Coates-Carter. (Source)

Over at Liturgical Arts Journal, you will find a very good, brief introduction to an ecclesiastical architect of the Arts and Crafts Movement, John Coates-Carter. He is most famous for his design of the (extraordinary) abbey on Caldey Island. Most of his work can be found in Wales. Perhaps because of his regional interest, I had never heard of him before. Yet his altarpieces are about as Anglo-Catholic as you can get. They have all of the features I noted in my article on AC aesthetics; they’re earthy, colorful, idealized, with a hint of the illustrative verging on the cartoonish. And most importantly, the are deeply human. Anglo-Catholicism restored the human face to British ecclesiastical art. We can see that tendency in the luminous angels and vibrant peasants that appear in Coates-Carter’s sacral art. Do go have a look.

CaldeyIsland

Caldey Abbey, designed by John Coates-Carter. (Source)

“A Vacuum He May Not Abhor”

RS Thomas Obituary

R.S. Thomas in a typical pose. One does wonder if he ever smiled. (Source)

R.S. Thomas (1913-2000), the Welsh nationalist, Anglican minister, and consummate poet belief and doubt has recently become a favorite. Here is a poem of his that, I think, is worth pondering in Lent.

The Absence

It is this great absence
that is like a presence, that compels
me to address it without hope
of a reply. It is a room I enter

from which someone has just
gone, the vestibule for the arrival
of one who has not yet come.
I modernise the anachronism

of my language, but he is no more here
than before. Genes and molecules
have no more power to call
him up than the incense of the Hebrews

at their altars. My equations fail
as my words do. What resources have I
other than the emptiness without him of my whole
being, a vacuum he may not abhor?

Maurice Zundel on Prayer

zundel-800x450

Maurice Zundel in old age. (Source)

Fr. Maurice Zundel was one of the great, if often-forgotten, theologians of the last century. Sometime student of Fr. Reginald Garrigou-Lagrange, he wrote various works of Catholic philosophy in conversation with existentialism, Protestantism, and personalism. This wide-ranging and erudite scholarship led soon-to-be-Saint Paul VI to call him “a mystical genius.” However, he is best known in the Anglophone world for his writing on the liturgy. This extract is taken from his great work, The Splendour of the Liturgy (1943), translated by Edward Watkin for Sheed & Ward. It comes from his chapter on “The Collect” (pg. 61-67). I was struck by this passage’s profound depths of wisdom as well as its light,  imaginative style.

Prayer is the soul’s breath, the creature’s fiat in response to the Creator’s in that mysterious exchange which makes us God’s fellow-workers. Its purpose is not to inform God of needs which He knows infinitely better than we do ourselves, nor to move His will to satisfy them, for His will is the eternal gift of infinite Love. Its sole object is to make us more capable of receiving such a gift, to open our eyes to the light, to throw open the portals of our heart too narrow to give access to the King of glory. There is no need to importune God for our happiness, for He never ceases to will it. It is we who place the obstacle in its way and keep his love at arm’s length.

Jerusalem, how often would I have gathered thy children, as a hen gathers her chickens beneath her wings, and thou wouldst not.

This surely is the most poignant expression of the Divine Tragedy: ‘I would, I, thy Lord and thy Godbut thou, thou wouldst not.’ If we place this complaint side by side with the text already quoted from the Apocalypse, ‘I stand at the door and knock,’ we must conclude that God always hears man’s prayer, that He is the eternal answer to prayer, and that it is man who too often refuses to hear God’s prayer.

And prayer is precisely the response to Love’s eternal invitation, which is made with an infinite regard for our freedom. It is, therefore, superfluous to ask whether every prayer is heard. It is heard if and in so far as it is a genuine prayer. For genuine prayer is the opening of the soul to the mysterious invasion of the Divine Presence, and it is completely summed up in the final appeal of the Apocalypse: ‘Come, Lord Jesus.’ (61-62)

Throughout the chapter, Zundel strikes what we might call a sophiological note. He approaches the most basic substance of the Christian lifeprayerand carries on to the Eschaton, to spiritual nuptials, and to illumination from on high.

It remains true that there is no conversation without answers, no marriage of love without mutual consent. And it is a marriage of love that is to be concluded between God and ourselves. In this marriage whose intimate union must continually grow until its flower unfolds in eternity, prayer is our assent. There is no need to put it into words. It may be confined to a silent adherence, a simple look in which we give our entire being a calm silence in which, without adding anything of her own, the soul listens to Him who utters Himself within her by His single Word. And all prayer tends towards this transparent passivity which exposes the diamond of our free will to the rays of the eternal light. We can pray without asking for anything and without saying anything, that God may express Himself the more freely…

It is ultimately for the sake of God that the soul desires her own Beatitude, that no obstacle may thwart His love, that the world may realise its spiritual vocation, and that throughout creation all may be yea, as all is yea in God. (62-64)

Zundel notes that the peculiar genius of the Liturgy is the way it uses human spiritual needs as launchpads for a “flight” into the eternal. The Collects crystallize this function in that they often speak of our human wants. Zundel writes:

But their very sobriety forbids us to stop at their verbal surface. The soul has but to let herself go and she is launched on the open sea voyaging over abysses of light and darkness, of sorrow and peace. They are more than prayers, they are sacraments of prayer, formulas that induce the essential prayer which we have attempted to describe. (64-65)

MassMeaning

Would that we might be ever mindful of what is really taking place at every Mass! (Source)

Among Prayer-Book Anglicans, there used to be a very old custom of memorizing collects. I do wonder how many still keep it upcertainly, I don’t know of any Catholics who memorize collects. Imagine what would happen to our own spiritual lives, to say nothing of the Church militant, if we committed to learning a few by heart. If you’re looking for a beautiful English translation of the traditional collects, might I recommend a little volume published by W. Knott & Son. Otherwise, there’s another good alternative that came out around the same time. 

Elsewhere: A New Blog on Christianity and Cricket

19century_cricket.jpg

A scene of English life in the 19th century; top hats in the foreground, a Gothic Cathedral in the background, and between them, cricket. (Source)

Living at an Anglo-Catholic seminary has been an education in many respects, but I still haven’t got a handle on the sport of cricket. Luckily for me (and for many of my readers, I’m sure), a new blog hopes to correct that oversight. My friend and fellow Staggers resident, Mr. William Hamilton-Box, has just begun writing on Cricket, Christianity, and various fun facts. Do give it a look-see.

The Garter Martyr

Triple_portrait_of_Charles_I

Van Dyck’s famous Triple Portrait of the King, now part of the Royal Collection at Windsor. (Source)

The thirtieth day of January calls to mind that noblest of monarchs, Charles I of the House of Stuart, King of England, Scotland, and Ireland. His reign was a study in chiaroscuro; a bright first half erupting into the bleakest darkness, only to end with a moment of shattering light. I speak, of course, of that death which has earned him the admiration of pious Anglicans for generations. Described as a martyr almost immediately after his execution, Charles I was formally raised to the altars of the Church of England in 1662, and his Mass and Office persisted until the Victorian era. Latterly, he has been the object of devotion by the most sound Anglo-Catholics. His feast is kept every year at Her Majesty’s Banqueting House in Whitehall, where the king met his untimely and illicit end.

Royal-English-School-Charles-I-Memorial-Portrait-1660s

A posthumous memorial painting of Charles from the 1660’s. (Source)

That’s all very well and good for Anglicans. But where does this leave Roman Catholics? It is perhaps one of the great sadnesses of our age that the Ordinariate Missal did not retain the recognition of Charles as a beatus, if not a saint. A few years ago, Fr. Hunwicke produced a very good argument as to why, canonically and liturgically, a soul who died in schism could be recognized as a saint (taking the precedent of various Eastern saints like Palamas and Gregory of Narek). He has argued for a favorable reading of Charles’s Catholicizing tendencies before.

Charles_I_(1630s)2.jpg

A portrait of Charles I in armor. The work of Van Dyck, I believe. (Source)

I would add my voice to Fr. Hunwicke’s. Charles was, on the whole, a boon to the Catholic Church. Charles’s marriage to a formidable Catholic princess, Henrietta Maria of France, saw the arrival at court of Roman Catholic priests, a first since the days of Mary Tudor. He allowed the ambassadors of foreign courts to hold their own chaplains, notably at St. James’s, Spanish Place. Charles even opened up diplomatic talks with the Pope for the first time in decades, receiving more than one papal legate during his personal reign. High-level talks about reunion between the two churches were carried on in secret. He wrote to the Pope, in a letter of 1623 preserved and collected for publication by Sir Charles Petrie (1935),

Be your holiness persuaded that I am, and ever shall be, of such moderation as to keep aloof, as far as possible, from every undertaking which may testify any hatred towards the Roman Catholic religion. Nay, rather I will seize all opportunities, by a gentle and generous mode of conduct, to remove all sinister suspicions entirely; so that, as we all confess one undivided Trinity and one Christ crucified, we may be banded together unanimously into one faith. (See Petrie, The Letters…of King Charles I, pg. 16).

Of course, Charles was inconstant in these measures of good will. He was harsher on Recusants when it came to fines, but significantly lowered priest-hunting efforts. I believe I will not err in saying that, among the many martyrs of the English Reformation, none came during the King’s personal reign in the 1630’s. I only count four overall, of which we can probably acquit Charles from the burden of guilt. The two Catholics executed in 1628 – St. Edmund Arrowsmith, a Jesuit, and Blessed Richard Herst, a layman – seem to have fallen victim to the prejudices of lower officials rather than to any especially anti-Catholic venom emanating from the Crown. And once trouble with the Scots and Parliament began, Charles attempted to hold the situation together by, among other things, clamping down on priests. But even those martyrs which followed in the wake of these efforts owe their deaths more to the actions of local and middling anti-Papist forces than to the intentions of a harried crown. Only two seem to have died in 1641, the last year the King had any discernible control over what was going on in London. Realistically, it would be more appropriate to blame parliament for those deaths. In his church appointments, Charles always preferred those clerics who showed a marked sympathy to the doctrine of Rome. William Laud is only one among several examples that could be cited.

Charles_Landseer_-_The_Eve_of_the_Battle_of_Edge_Hill,_1642_-_Google_Art_Project.jpg

The Eve of the Battle of Edge Hill, 1642, Charles Landseer, 1845. (Source)

If this rather unpleasant parsing fails to convince us of Charles’s disposition towards the Church, then the works of his Catholic subjects might instead. The Catholic historian Lingard reports that, “Of five hundred officers in the royal army, who lost their lives during the civil war, one hundred and ninety four are known to have been catholics” (see Lingard, “Documents to ascertain Sentiments…” pg. 18). That’s a full 38.8%. The Civil War wrecked the old world of the Recusant nobility, most of whom proved themselves loyal to the King to the point of death. We might add that all the forces of Catholic Ireland rallied around the King’s cause. Every major faction of Irish Catholic society knew that they would suffer far more under the stridently Protestant regime of the Long Parliament than they ever had with Charles. Cromwell’s bloody Irish campaign was to prove their fears well-founded.

In the grand movements of history, it is easy to lose sight of the basic humanity and unique personality of those at play. Yet monarchy is always personal. So is the communion of saints. And when it comes to a “royal Saint,” as John Keble would have it, we ought to pay even closer attention to the personal characteristics of the man in question. Who was Charles Stuart?

Screen Shot 2018-01-30 at 12.54.06 AM.png

Charles I and Henrietta Maria with their Two Eldest Children, Anthony Van Dyck, 1631-32. (Source)

A man of profound faith; a man who took his duty seriously, and executed it with all the fastidious attention of convicted principle; and, for the most part, a devoted husband. Though not entirely clean of adultery, Charles had but one mistress, and that only at the very end, while a prisoner. Alas. On the whole, his marriage was extremely sound by the standards of the Stuart dynasty, let alone the norms that prevailed among the continental rulers of the 17th century. One must rather admire the gallantry of a husband who cropped the ears of a man who dared to call his wife a whore in print.

Arolsen_Klebeband_02_035_2.jpg

A German memorial portrait of Charles after Wenceslaus Hollar (Source)

Charles also exhibited impeccable taste in art. His aesthetic sensibilities led him to amass one of the finest compilations of paintings in Europe. Today, they form the core of the Royal Collection. He employed great artists like Van Dyck and Rubens to beautify the court, architects like Inigo Jones to ennoble the capital, and poets like Sir William Davenant and Ben Jonson to write lavish masques. The Queen and even Charles himself participated in these masques. Henrietta Maria thereby became the first woman to act on the English stage, clearing the way for later pioneers like Aphra Behn and Nell Gwynn to make their mark during the Restoration. All of these developments irritated the Puritans, as did Charles’s reissue of the Jacobean Book of Sports, encouraging the people of England to enjoy various games and festivities on Sundays and feast days.

The 1630’s were something of a golden age for English culture. The vast Laudian effort to restore “the beauty of holiness” in Church liturgy and fabrics must be set in this context. Charles was the king who loved beauty in all things.

Frederick Goodall - An Episode in the Happier Days of Charles I (1853)

An Episode in the Happier Days of Charles I, Frederick Goodall, 1853. (Source)

Yet it is not for his mostly admirable character, nor for his exquisite aesthetics, nor for the glory of his personal reign that we remember him today. It is for that stirring death he embraced with the true fortitude and charity of a martyr.

On the scaffold, he declared to his murderers,

[As for the people], truly I desire their Liberty and Freedom as much as any Body whomsoever. But I must tell you, That their Liberty and Freedom, consists in having of Government; those Laws, by which their Life and their Gods may be most their own. It is not for having share in government (Sir) that is nothing pertaining to them. A subject and a soveraign are clean different things, and therefore until they do that, I mean, that you do put the people in that liberty as I say, certainly they will never enjoy themselves.

Royal-Dunning-Goddard-Charles-I-1649

Portrait of Charles before his execution, Goddard Dunning, 1649. (Source)

Sirs, It was for this that now I Am come here. If I would have given way to an Arbitrary way, for to have all Laws changed according to the power of the Sword, I needed not to have come here; and therefore, I tell you, (and I pray God it be not laid to your charge) That I Am the Martyr of the People…I have delivered my Conscience. I pray God, that you do take those courses that are best for the good of the Kingdom and your own Salvations.

After which he announced, “I go from a corruptible, to an incorruptible Crown; where no disturbance can be, no disturbance in the World.” To Dr. Juxon, Bishop of London, he whispered the single word, “Remember.” He laid his head on the block, lifted his arms up in imitation of Christ, and the axe fell true. From that moment, the stunned crowd knew they had witnessed something auspicious. An account of the execution relates that

His blood was taken up by divers persons for different ends: by some as trophies of their villainy; by others as relics of a martyr; and in some hath had the same effect, by the blessing of God, which was often found in his sacred touch when living.

One could thus argue that a cult of the Royal Martyr existed from the very moment of his death.

The_Execution_of_Charles_I_of_EnglandWeesop

The Execution of Charles I of England, formerly attr. to John Weesop. (Source)

Even so, the Church has not enrolled him among those hallowed names in the martyrology. It is unlikely she ever will, for political reasons if nothing else. For my own part, I am convinced that Charles I is worthy of a Catholic’s admiration. Yet truly does the verse of the Psalmist come to me, that “The king’s heart is in the hand of the Lord, as the rivers of water: he turneth it whithersoever he will” (Ps. 21:1 KJV). In the end, only He can know what silent prayers and longings came to Charles in the last instant of his life.

Perhaps the true fate of Charles Stuart will remain a mystery until the Day of Judgment. But there is no reason that we mightn’t pray for him in the time until that fell revelation. After all, Charles died for what was best in the Church of England: episcopacy, sacraments, Marian devotion, beauty. Indeed, the very things it had inherited from its Apostolic past, and that Charles and his Archbishops had tried so ardently to restore. If history had taken a better turn, perhaps he might even have succeeded in the long hoped-for reunion of Rome and Canterbury. 

If nothing else, let us be grateful to Charles for all the good he accomplished and inspired under the Providence of Our Lord, Jesus Christ.

EikonBasilike.jpg

Frontispiece of the Eikon Basilike (Source).

The Kings’ Novena

EikonBasilike1.jpg

Frontispiece of the Eikon Basilike (1649) – (Source)

It occurred to me today that one could pray a novena between the day of Louis XVI’s death and that of Charles I, which I pointed out to my friend, Connor McNeill. He kindly whipped this little service up, drawing upon the offertory antiphons and collects for the service of Charles I in the 1662 Book of Common Prayer. It has been suitably altered to accommodate both kings, and indeed, all Christian rulers.

TheKingsNovena

“The Fair and Fatal King”

CharlesStatue1

Two heroes, one square: Charles I and Nelson. (Source)

Today may be the anniversary of Louis XVI’s execution, but I just found a wonderful poem about His Majesty Charles I that I wanted to share with my readers. Something to meditate upon before the 30th.

By the Statue of King Charles at Charing Cross

Lionel Johnson
To William Watson

Sombre and rich, the skies,
Great glooms, and starry plains;
Gently the night wind sighs;
Else a vast silence reigns.

The splendid silence clings
Around me: and around
The saddest of all kings,
Crowned, and again discrowned.

Comely and calm, he rides
Hard by his own Whitehall.
Only the night wind glides:
No crowds, nor rebels, brawl.

Gone too, his Court: and yet,
The stars his courtiers are:
Stars in their stations set;
And every wandering star.

Alone he rides, alone,
The fair and fatal King:
Dark night is all his own,
That strange and solemn thing.

Which are more full of fate:
The stars, or those sad eyes?
Which are more still and great:
Those brows, or the dark skies?

Although his whole heart yearn
In passionate tragedy,
Never was face so stern
With sweet austerity.

Vanquished in life, his death
By beauty made amends:
The passing of his breath
Won his defeated ends.

Brief life, and hapless? Nay:
Through death, life grew sublime.
Speak after sentence? Yea:
And to the end of time.

Armoured he rides, his head
Bare to the stars of doom;
He triumphs now, the dead,
Beholding London’s gloom.

Our wearier spirit faints,
Vexed in the world’s employ:
His soul was of the saints;
And art to him was joy.

King, tried in fires of woe!
Men hunger for thy grace:
And through the night I go,
loving thy mournful face.

Yet, when the city sleeps,
When all the cries are still,
The stars and heavenly deeps
Work out a perfect will.

January is for Jacobites

HenryBenedictStuart

Henry Benedict Stuart, Cardinal Duke of York, also known from January 1788 as King Henry IX of England, Scotland, and Ireland according to the Jacobite peerage. (Source)

There’s much in the calendar this month that makes one think of the Kings over the Water. On January 30th, we remember the death (cough cough *martyrdom* cough cough) of Charles I. James II was made Duke of York in January. On the 7th of January, 1689, Louis XIV received James in exile at St. Germain-en-Laye. His son, the Old Pretender, died on January 1st, 1766.

Charles_I_and_James_II.jpg

Charles I and James, Duke of York, Sir Peter Lely, 1647. (Source)

The very next day is the anniversary of the death of the Young Pretender, and thus of the accession to the Pretendence by his brother, Henry Benedict Stuart, Cardinal Duke of York, Cardinal Priest of Santa Maria in Portico, Cardinal Priest of Santi XII Apostoli, Cardinal Priest of Santa Maria in Trastevere, Cardinal Bishop of Frascati, Comendatario of San Lorenzo in Damaso, Dean of the College of Cardinals, and nominally Cardinal Bishop of Ostia e Velletri.

PettieBonniePrinceCharlie

Bonnie Prince Charlie Entering the Ballroom at Holyroodhouse, John Pettie, 1892. He died on the 31st of January, 1788. (Source)

There is a delightful passage about that event by Brian Fothergill in his book, The Cardinal King. It comes to me by way of Mr. Connor McNeill. You can find him at Mary’s Dowry.

So it was decided that the funeral should take place at Frascati, for in his own Cathedral the Cardinal might do as he pleased.

While Prince Charles lay in state dressed in royal robes with crown and sceptre, the stars of the Garter and Thistle on his breast, six altars were created in the antechamber at which more than two hundred masses were offered for the repose of his soul by the Irish Franciscans and Dominicans who attended him in the hour of death. The body was then placed in a coffin of cypress wood and taken to Frascati where the funeral took place on the 3rd of February. The little cathedral was thronged with people, among whom were to be seen many English residents and visitors from Rome, all in the deepest mourning. A guard of honour was formed from the Frascati militia and the chief magistrates if the town were all present. The whole interior of the building was hung with black and adorned with texts chosen by the Cardinal himself, the most appropriate of which was taken from Ecclesiasticus: ‘Ad insulas longe divulgatum est nomen tuum, et dilectus es in pace tua,’ – ‘Thy name went abroad to the islands far off, and thou was beloved in thy peace.’ The coffin was placed on a catafalque raised three steps from the floor of the nave and covered in a magnificent pall emblazoned with the arms of Great Britain; round about it burned many wax tapers while three gentlemen of the household clad in mourning cloaks stood on each side.

As ten o’clock struck the royal Cardinal entered the church, being carried to the door in a sedan chair heavily festooned with black crêpe. He then advanced to his throne and began to chant the office for the dead while at other altars four masses were said by the chief dignitaries of the cathedral. As the Cardinal repeated the solemn words tears were seen to run down his cheeks and more than once his voice faltered as though he were unable to proceed.

Arms of the Cardinal Duke of York Foppoli

Arms of the Cardinal Duke of York as rendered by Marco Foppoli. (Source)

Fothergill goes on to describe the Cardinal’s performance of certain archaic royal duties.

His assumption of royal rank had brought few if any changes to his mode of life beyond those minor adjustments in arms and title to which we have already referred. He would sometimes, as successor to King Edward the Confessor, touch for the King’s Evil, using a silver-gilt touch-piece engraved with a ship in full sail on one side and an angel on the other. The mystical aspect of royalty to which phlegmatic Hanoverians have never laid claim was probably, with the single exception of Charles X of France, practiced for the last time in human history by Henry IX.

CardinalDukeofYorkengraving

Engraving of the Cardinal Duke of York, Antonio Pazzi, mid-18th century. (Source)

Your humble correspondent will have more to say as the Memorial of Charles approaches. In the meantime, you can celebrate this auspicious month by listening to an excellent little album of music composed for the court of the the Cardinal King. It is, I believe, the first recording of this recently discovered collection.

Coronation_Procession_of_James_II

James II wasn’t crowned in January, but this illustration was too magnificent not to include. (For expanded view see Source)

Becket’s “Easier Victory”

becket_martyr

Saint Thomas of Canterbury, pray for us and for England. (Source)

It’s that time a year again. The Feast of St. Thomas Becket, Martyred Archbishop of Canterbury, defender of the Church’s independence from the Crown. Which means we get to watch that fantastic and ever so Catholic film, Becket (1964). For those without access to the full movie, you can watch the very best scene here.

Becket#4

One of the film’s great charms is its collection of beautiful Romanesque vestments, all used properly. (Source)

Let me also add in a great excerpt from T.S. Eliot’s classic 1935 verse drama about the Archbishop, Murder in the Cathedral. It comes from the most climactic moment of the play, when Thomas is about to be killed. His priests have barred the doors of the cathedral to the four assassins, but Thomas will have none of their worldly prudence. His speech presents a brief theology of martyrdom that must stir the heart of any Catholic.

You think me reckless, desperate and mad.
You argue by results, as this world does,
To settle if an act be good or bad.
You defer to the fact. For every life and every act
Consequence of good and evil can be shown.
And as in time results of many deeds are blended
So good and evil in the end become confounded.
It is not in time that my death shall be known;
It is out of time that my decision is taken
If you call that decision
To which my whole being gives entire consent.
I give my life
To the Law of God above the Law of Man.
Unbar the door! unbar the door!
We are not here to triumph by fighting, by stratagem, or by resistance,
Not to fight with beasts as men. We have fought the beast
And have conquered. We have only to conquer
Now, by suffering. This is the easier victory.
Now is the triumph of the Cross, now
Open the door! I command it. OPEN THE DOOR!

(MITC 73-74)

May we so speak in the many trials of our own lesser martyrdoms.