Elsewhere: The Prior of Silverstream on Secular Aesthetics

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“Balfron Tower, London,” Erno Goldfinger, 1967. Sometimes, Brutalism has something of the quality of a stage set. It can work then. But most of the time, it is extremely depressing, and one rather wishes that most Brutalist structures were torn down. Imagine what a housing flat like the one picture here says about human life. What an insufferable, dehumanizing worldview is enshrined there! No wonder that our greatest dystopias are all cast in concrete. (Source)

One of the things I like about Vultus Christi is that it’s very un-polemical. So much of the Tradisphere gets bogged down in kvetching about the Pope, or internecine carping, or weird and generally unhelpful screeds about the modern world. One does get rather exhausted of reading that, and most of the time, VC avoids it. But when Dom Mark does raise his voice, his criticism is always tempered with a profound wisdom and grace. Such is the case with yesterday’s sermon at Silverstream, “Make His Praise Glorious.”

The sermon is clearly addressed to the abortion referendum looming in Ireland’s imminent future. But Dom Mark sees the bigger picture of what a “Yes” victory will mean for Irish culture. His argument is not a concatenation of the ordinary pro-life slogans about “a culture of life.” Instead, he makes a broader and, paradoxically, a more incisive point. What is at stake is the place of God in society. The referendum is not ultimately about human life, but human salvation.

There is much to like in the sermon. Of course, I’m very glad to see Dom Mark quoting from Fr. Dalgairns of the London Oratory, one of Newman and Fr. Faber’s early companions. Dalgairns is not much read today, though he was well respected in his own life for his spiritual writings and for his prolific pastoral work.

I was very taken with the aesthetic rhetoric Dom Mark employs. He illustrates the divergence between secular and sacred societies with an appeal to their built environment. Early on in the sermon, he explains the moral meaning of architecture.

New cities are always being constructed on the ruins of the old: these are skillfully planned in view of providing their citizens with every facility and technological advancement: schools, green spaces, clinics, libraries, museums, shopping districts, sports fields, industrial parks, and fitness centres. If, however, in these cities, there is no temple raised to the glory of God, no sanctuary, no altar, no tabernacle containing the irradiating Body of Christ, not only are such places not fit for man, created in the image and likeness of God, such places are dehumanising. In every place where the praise of God is silenced, where churches are closed, where the worship of God is forsaken, man becomes less than human.

It is anthropologically uncontroversial that the spaces we create have an effect on us. Our constructed surroundings in turn construct our souls. And when our ideas about the soul and its final end change, so will our buildings. If you seek an artistic exploration of this notion, I would recommend the two stunning documentary films Koyaanisqatsi (1982) and Baraka (1992). Or have a look at Pugin’s Contrasts (1836).

Dom Mark writes of the Christian world:

The builders of cathedrals, churches, and monasteries in former ages of faith had in view only this: to make glorious the praise of God. They understood that by raising edifices for nought but divine worship, and by keeping Sundays and festivals holy unto God, they were, in effect, providing their children, and their children’s children with space to be truly human.

The Christian community makes space (and, indeed, time) for the praise of God. By contrast, the post-Christian culture not only thinks differently, but looks and feels differently as well.

The secular nation descends inexorably into a harsh and dismal unloveliness. Beauty withers in every society that marginalises God and the things of God. Look at the cities constructed by the Godless totalitarian regimes of the last century: monuments of oppression haunted by hopelessness.

The difference between the two can be summed up in that one word: unloveliness. It is a quality that inheres in society as a network of relations between the self and others, between the self and the built environment, and between the whole sum of the people and their built environment. The word succinctly describes an entire process:

1. Spiritual malaise leads to doubt whether the created world can bear eternal meaning.
2. This doubt, often expressed positively as utilitarianism, leads to an unloving and even anti-aesthetic attitude towards the built environment.
3. Subsequently, aesthetic defect characterizes the built environment.
4. The original malaise is aggravated or ossifies.
5. The cycle repeats ad nauseam.

The processional nature of “unloveliness” derives from the threefold connotation of the word it negates, “loveliness.” When we speak of something as “lovely,” we are usually speaking of a moral, spiritual, or aesthetic quality. It is an assessment that lies somewhere between the Good and the Beautiful. The Unlovely is that which expresses, inspires, or provokes something somewhere between the Evil and the Ugly.

As Dom Mark makes clear, we have the duty to choose the Lovely and reject the Unlovely. “The choice of the secular city and its values will lead to barrenness, unloveliness, and emptiness. The choice of the second will lead to the sound of jubilation in the city.” If, as Goethe famously said, architecture is “frozen music,” then we should aim to build towering hymns that lift the soul to God. But the construction of that physical space depends upon the cultural space we make for the sacredincluding human life as such.

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“Le Corbusier’s 1925 ‘Plan Voisin’ planned to raze parts of central Paris and replace them with high-rise towers and highways.” Looks like posterity dodged a bullet there. (Source)

Spring According to Pre-Raphaelites

Spring is here, and the Pre-Raphaelites are going to tell you how to celebrate.

WalterCraneSpringIf you’re not just lying about languidly in a meadow, you’re not really doing it right, are you?

SpringAppleBlossoms.jpgIt is also acceptable to lie there with an audience, preferably one enjoying a lovely picnic. And everyone must be the same gender and should, if at all possible, be dressed in very uncomfortable clothing.

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After you have wallowed in the flowers, be sure to pick some and stare vacantly into the middle distance.

john_william_waterhouse_10_a_song_of_springtime.jpg And of course, you should be arrayed in an artfully disheveled white dress. To get that shabby chic look, you know?

HirelingHolmanHunt.jpgHow you dishevel it is up to you.

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Never let a gust of wind pass without posing.

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When it comes to flower-staffs, the bigger, the better.

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Only travel with an entourage of little people, so as better to accent your royal mien and bearing.

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Choir boys will also do.

Ophelia 1851-2 by Sir John Everett Millais, Bt 1829-1896
Spring is a lovely time for a refreshing dip.

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You know you’re having a good Spring day when, so enraptured by the little blossoms you’re holding, you don’t even notice your long green scarf blowing away.

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If you happen to find half-naked classical youths asleep in a garden, surrounded by putti and doves, and stuck in an extraordinarily improbable pose, don’t worry. This is normal in Spring.

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Likewise, wild nuns emerge from hibernation and range freely again in the Spring.

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While it’s important to enjoy the season, it’s even more important not to get too caught up in it. This time of the year is when people are most at risk of being sealed into trees by nymphs.

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But surely the best thing about Spring is that it’s no longer Winter!

(Images from here, here, here, here, here, here, here, here, here, here, here, here, here, here, here)

 

A Ghastly Hymn for Good Shepherd Sunday

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A cope depicting the Good Shepherd. (Source)

I realize that technically last week was Good Shepherd Sunday in the traditional calendar, but as most of the Catholic world (alas) celebrates it tomorrow, I thought I’d offer up this truly dismal hymn from Fr. Faber. I have never yet heard it set to music, so if any of my readers happen to know of a recording, I would appreciate them kindly sharing it. Fr. Faber is one of my favorite spiritual writers and hymnodists…even when he’s outlandishly bad.

The True Shepherd

Fr. Frederick William Faber

I was wandering and weary
When my Saviour came unto me;
For the ways of sin grew dreary
And the world had ceased to woo me:
And I thought I heard Him say,
As He came along His way,
O silly souls! come near Me;
My sheep should never fear Me;
I am the Shepherd true.

At first I would not hearken,
And put off till the morrow;
But life began to darken,
And I was sick with sorrow;
And I thought I heard Him say,
As He came along His way,
O silly souls! come near Me;
My sheep should never fear Me;
I am the Shepherd true.

At last I stopped to listen,
His voice could not deceive me;
I saw His kind eyes glisten,
So anxious to relieve me:
And I thought I heard Him say,
As He came along His way,
O silly souls! come near Me;
My sheep should never fear Me;
I am the Shepherd true.

He took me on His shoulder,
And tenderly He kissed me;
He bade my love be bolder,
And said how He had missed me;
And I’m sure I heard Him say,
As He went along His way,
O silly souls! come near Me;
My sheep should never fear Me;
I am the Shepherd true.

Strange gladness seemed to move Him,
Whenever I did better;
And he coaxed me so to love Him,
As if He was my debtor;
And I always heard Him say,
As He went along His way,
O silly souls! come near Me;
My sheep should never fear Me;
I am the Shepherd true.

I thought His love would weaken,
As more and more He knew me;
But it burneth like a beacon;
And its light and heat go through me;
And I ever hear Him say,
As He goes along His way,
O silly souls! come near Me;
My sheep should never fear Me;
I am the Shepherd true.

Let us do then, dearest brothers!
What will best and longest please us,
Follow not the ways of others,
But trust ourselves to Jesus;
We shall ever hear Him say,
As He goes along His way,
O silly souls! come near Me;
My sheep should never fear Me;
I am the Shepherd true.

Nostalgia Without Illusions

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The Wilmington Giant, Eric Ravilious (Source)

Recently I read an article about a genre of music that had previously been unknown to me: Hauntology. In a nutshell, Hauntology is a throwback to the eerie, folksy world of British childhood in the 1970’s. The author summarizes the genre’s affective impact as “strange, melancholy disquiet.” Apparently music is being made today (and has been for some time) that conjures all at once that decade’s public broadcasting for children, the acoustic sounds of the English folk tradition, psychedelia, pagan chants, and synthesizers. Most of this material has been released through a few different labels: Ghost Box, Clay Pipe, and Trunk Records. Each specializes in a different variation of the general theme. On the whole, though, they all produce music that’s unsettling and evocative of a very particular place and time in the last century. There is something autumnal, something anachronistic, something broken in it all. In short, it’s music that’s haunted.

Many of the albums have cover art inspired by Eric Ravilious or John Nash or Sir Stanley Spencer or even Rex Whistler, those painters who so marvelously captured the quiet unease of the British landscape and its denizens. And the multimedia satirical phenomenon that is Scarfolk fits right into the broader movement. Hauntology is more than just a style of music. It’s an aesthetic.

In this respect, Hauntology is to the 1970’s what Vaporwave is to the late 1980’s and 90’s, or, for that matter, what David Lynch’s entire corpus is to the 1950’s.

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Malls built in the early years of Bush I are the stuff of Vaporwave dreams. (Source)

Vaporwave derives its critical bite as well as its occasional airy ephemerality from a unifying sense of dread. Much the same could be said of Hauntology. Only instead of the zombie-like ascent of neoliberal late capitalism under the glittering haze of digital culture and advertising, Hauntology is still preoccupied with the anxieties of the analog age. Orwellian dystopia, the loss of the British countryside, and the destruction of innocence all hover under the surface. It’s drawing upon creepy public service announcements rather than Japanese soft drink commercials. Hauntology is to British Folk Horror as Vaporwave is to Cyberpunk.

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A scene from Blue Velvet (1986), one of David Lynch’s most distinctive films. It set the tone for much of what was to follow in its powerful evocation and ultimately ruthless subversion of mid-century norms (Source).

The common denominator is nostalgia, but a nostalgia free of illusions. Each of these aesthetic representations of a remembered decade – Lynch’s 1950’s, Hauntology’s 1970’s, and Vaporwave’s Digital Age – contains a degree of attachment to that particular time. Usually because the main creators involved in producing the aesthetic grew up then, and thus they draw upon the dreamlike haze which alternately gilds and clouds our world in youth. But it’s all shot through with the very real understanding that the past was not as wonderful as we would like to believe. Something nasty lurks just beyond our peripheral vision. We cannot help remember, but in that remembrance, terror awaits.

I’m an American, and only in my early twenties. 1970’s Britain wasn’t a world I ever knew. Nevertheless, I immediately connected with the emotional phenomenon behind Hauntology. Certain relics of that earlier time appeared every now and then in childhood, and even those that weren’t directly from the United Kingdom of the 1970’s often bring to mind that same feeling of remembered unease. Many of Don Bluth’s films animate precisely this strange, sensitive part of my memory. So do Stephen Gammell’s original illustrations of the Scary Stories to Tell in the Dark books. So does The October Country, Ray Bradbury’s wonderful short story collection (which itself significantly predates the main era of Hauntology). So does anything by Lynd Ward. So do parts of Pink Floyd’s The Wall. So does that horrible movie, The Plague Dogs. There are probably more examples I could summon up if I thought about it long enough. I am no stranger to “strange, melancholy disquiet.”

I’ve always liked that sensation, and I’ve always been drawn to other peoples’ nostalgia. As such, I’m super pleased to have discovered Hauntology.

Elsewhere: A Lackluster Profile of St. Philip

I’m always pleased to find articles about St. Philip Neri in the Catholic press. Unfortunately, some are less helpful than others. I was disappointed with Shaun McAfee’s recent article in the National Catholic Register, “St. Philip Neri Was a Humorist, But Not a Comedian.” The style is tortured and riddled with typos, and the content leaves much to be desired. Key episodes from the life of St. Philip are either misunderstood or handled clumsily.

Case in point—when the young Pippo Buono infamously pushed his sister, he was not plotting a premeditated revenge against some grievance. He was reacting somewhat thoughtlessly to her childish interruption of the prayers he and his other sister were saying. Mr. McAfee casts the episode in a much darker light than any of St. Philip’s biographers.

More egregiously, Mr. McAfee throws together all kinds of unrelated phenomena as evidence of St. Philip’s penchant for holy humour. Here he is:

Yes, Neri was known to show up to important events with half his beard shaved, give incorrect walking directions to his disciples, read a book of jokes, or pause for more than 10 minutes in the middle of the consecration at Mass. When he did each of these things he caused a mix of emotions in others, but it always ended up producing the same end state: increased humility, and increased patience.

Two problems present themselves. First, we can see Mr. McAfee’s unusual, jarring use of “Neri” to refer to St. Philip. This shorthand is unheard of in the literature on St. Philip, and its impersonal, journalistic tone sits uneasily with a saint of such singular personality. Secondly, not all of these actions were done for the same reason. Nor were they all jokes! St. Philip didn’t pause at the consecration to elicit edified chuckles. He did so because he was rapt in an ecstasy and couldn’t help himself plummeting into deepest adoration before the Eucharistic God. And it wasn’t just ten minutes—it was usually over an hour, sometimes up to two. Even Mr. McAfee’s details are wrong.

Still, I suppose I ought not complain too much. Mr. McAfee does draw mostly the right lessons from St. Philip’s humour. One wishes, however, that he done so with greater artfulness and more care for the nuances of his subject.

“And the Light Shineth in Darkness; and the Darkness Comprehended It Not.”

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Cybele, the Magna Mater, on her triumphal car pulled by two lions. Has there ever been a more perfect likeness to the Whore of Babylon? (Source)

March 24th is the traditional Dies Sanguinis of the ancient Roman calendar, when the painted eunuch-priests of Cybele and the votaries of Attis in their Phrygian caps would join with the servants of warlike Bellona in the most vile public atrocities. On that day, hideous pipes stirred the wicked throng into a fever of unutterable terror, and as the revelers danced in an ever more demoniac fashion, they mutilated their flesh and let out copious torrents of blood upon the stones of forum and temple. Then they drank from their own spilled blood, descending even lower than the beasts in their frenzy and taking on instead the aspect of lustful aegypans. The summit of these evil ecstasies came when, before the altar of the Magna Mater, devotees castrated themselves. Only thus could they enter the service of that infernal priesthood.
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The Triumphal Entrance of Christ, mosaic, Palermo. (Source)

This was the culture that Christianity conquered. And it is with these satanic rites in mind that we look forward to a double feast of rather a different sort tomorrow. For tomorrow, on the 25th of March, we celebrate Palm Sunday and the Annunciation, falling providentially on the same day.

“And the light shineth in darkness; and the darkness comprehended it not.”

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The Cestello Annunciation, Botticelli, 1489-90. My favorite of all Annunciations. (Source).

 

Elsewhere: A ‘First Things’ Debut

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One of Blake’s illustrations of the Paradiso. (Source)

I have to thank Elliot Milco for soliciting, editing, and publishing a short review I wrote in the April 2018 edition of First Things. It is my first appearance in that great publication. I have the privilege of sharing the page with a few other really stellar pieces; among others, Mr. Joshua Kenz and Ms. Emily Sammon have written particularly outstanding reviews of very different books. My own work covers a recent Taschen publication that examines the William Blake illustrations of Dante. Go give it (and the book in question) a read!

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Go buy this book. You won’t regret it! (Source)

Elsewhere: An Anglo-Catholic Designer You Should Know

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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.

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

Fénelon on the Return to God

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François de Salignac de la Mothe-Fénelon, Archbishop of Cambrai in the age of Louis XIV (Source)

Continuing my Lenten series of Wednesday spiritual masters, I present to you here a letter by Archbishop Fénelon to an officer, often identified as the Chevalier Colbert. The translation I am using comes from 1877, but I would also recommend to you the version by fellow Wahoo Chad Helms in the 2006 Paulist Press edition of Fénelon‘s Selected Writings. It struck me by its beauty and force of feeling, as well as its Lenten spirit. 

You have forgotten me, sir, but it is impossible for me to forget you. Something in my heart continually recalls you, and makes me want to hear of you, as I have more especially felt during the campaign and its perils. Your forgetfulness only makes me feel the more. The friendship you showed me once is of a kind never to be forgotten; and when I recall some of our conversations, my eyes are filled with tears. I trust that you remember how pleasant and hearty they were. Have you found anything since then more acceptable than God? Have the truths which then satisfied you failed? Is the pure light of the kingdom of God quenched? Has the world’s nothingness acquired some fresh value? Is that which was but a wretched dream not still the same? Is the God to Whom you poured out your soul, and Who filled you then with a peace beyond all earthly ken, no longer to be loved? Has the eternal beauty, ever so fresh to pure eyes, no longer charms for you? Is that source of heavenly joy, of unmarred happiness, which springs from the Father of Mercies and God of Consolation, dried up? No, for He has filled me with an urgent desire to recall you to Him. I cannot resist it: for long I have hesitated, and said to myself that I should only worry you. Even as I began this letter, I laid down a limit of discretion to myself; but after the first few words, my heart burst its bounds. Even should you not answer, or should think me absurd, I should not cease to speak sorrowfully to God of you, when unable to speak to you yourself any more. Once more, sir, forgive me if I exceed all due limits. I know it as well as you, but I feel irresistibly urged: God has not forgotten you, since He stirs up so eager a desire for your salvation in me.

What does He ask of you, save to be happy? Have you not realised that one is happy in loving Him? Have you not felt that there is no other real happiness, whatever excitement may be found in sensual pleasures, apart from Him? Since, then, you know where to find the Fountain of Life, and have of old drunk thereof, why would you seek foul, earthly cisterns? Bright, happy days, lighted up by the soft rays of loving mercy, when will ye return? When will it be given me to see this child of God reclaimed by His powerful Hand, filled with His favour, and the blessings of His holy Feast; causing joy in Heaven, despising earth, and acquiring an inexhaustible fund of humility and fervour from his experience of human frailty?

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The Return of the Prodigal Son, Rembrandt van Rijn, c. 1661-69. (Source)

I am not dictating what you should do. God will Himself make that plain to you according to your needs, so long as you hearken inwardly to Him, and despise boldly that which is despicable. Do whatever you will, only love God, and let His Love, revived in your heart, be your guide. I have often thanked Him for having shielded you amid the perils of this campaign, in which your soul was even more exposed to risk than your body. Many a time I have trembled for you: put an end to my fears, and fill my heart with gladness. None can possibly be greater than to find myself once more with you in the house of God, united in heart and soul, looking together to one glorious hope, and the Coming of our Great God, Who will fill us with the flood of His pure delights. Your ears are not yet closed to the sublime language of truth, your heart is made to feel its charms. “Taste and see” the pleasant bread daily spread for us at our Father’s table. Why have you forsaken it? With such support, who can fear that anything else will be lacking? Even if you do not feel strong enough to regain the happy position where you were, at least answer me, at least do not shun me. I know what it is to be weak; I am a thousand times weaker than you. It is very profitable to have realised what one is; but do not add to that weakness, which is inseparable from human nature, an estrangement from the means of strength. You shall regulate our intercourse; I will only speak to you of such things as you are willing to hear. I will keep God’s secret in my heart, and shall be always, with unchanging affection and regard, etc.

 

Elsewhere: A Blog on Saintly Cadavers

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A photograph of Santa Vittoria by Elizabeth Harper. (Source)

A friend has just brought to my attention a blog entitled All the Saints You Should Know. It’s run by someone named Elizabeth Harper, a scholar and photographer based in Los Angeles. Her work is guided by three principles:

  • I believe Catholic churches are memory theaters where nature, science, arts, humanity, math, politics, and the divine mingle in miniature. There’s a wealth of knowledge locked inside sacred objects, though it’s often hidden in plain sight.
  • I’ve found that the Catholic comfort with death and death imagery is life-affirming. It offers believers and skeptics alike an important cultural reference that opposes modern death denial.
  • I love to learn about the past. I love it more when the past teaches me about the present.

These are all sound and salutary beliefs, and the blog is truly beautiful. If you’re like me and find joy in all things morbid (and all things Catholic, while we’re at it), you will no doubt peruse Ms. Harper’s work with as much pleasure as I do. As I’ve said before, the Sacred can be strange. Ms. Harper’s website is a welcome reminder of that fact.

Not a blog to be overlooked!