Newman and Divine Providence

Bl. John Henry Newman, Doctor of Conscience and Doctor of Tradition, remains one of my dear friends in Heaven. Some of his prayers and devotions are as puissant today as they were when they were first composed. I am consoled by and draw courage from this extended passage of the Meditations and Devotions:

I have always thought this portrait captures the humanity and essential kindness of Cardinal Newman. (Source)

GOD has created all things for good; all things for their greatest good; everything for its own good. What is the good of one is not the good of another; what makes one man happy would make another unhappy. God has determined, unless I interfere with His plan, that I should reach that which will be my greatest happiness. He looks on me individually, He calls me by my name, He knows what I can do, what I can best be, what is my greatest happiness, and He means to give it me.

God knows what is my greatest happiness, but I do not. There is no rule about what is happy and good; what suits one would not suit another. And the ways by which perfection is reached vary very much; the medicines necessary for our souls are very different from each other. Thus God leads us by strange ways; we know He wills our happiness, but we neither know what our happiness is, nor the way. We are blind; left to ourselves we should take the wrong way; we must leave it to Him.

Let us put ourselves into His hands, and not be startled though He leads us by a strange way, a mirabilis via, as the Church speaks. Let us be sure He will lead us right, that He will bring us to that which is, not indeed what we think best, nor what is best for another, but what is best for us.

O, my God, I will put myself without reserve into Thy hands. Wealth or woe, joy or sorrow, friends or bereavement, honour or humiliation, good report or ill report, comfort or discomfort, Thy presence or the hiding of Thy countenance, all is good if it comes from Thee. Thou art wisdom and Thou art love—what can I desire more? Thou hast led me in Thy counsel, and with glory hast Thou received me. What have I in heaven, and apart from Thee what want I upon earth? My flesh and my heart faileth: but God is the God of my heart, and my portion for ever.

God has created me to do Him some definite service; He has committed some work to me which He has not committed to another. I have my mission—I never may know it in this life, but I shall be told it in the next. Somehow I am necessary for His purposes, as necessary in my place as an Archangel in his—if, indeed, I fail, He can raise another, as He could make the stones children of Abraham. Yet I have a part in this great work; I am a link in a chain, a bond of connexion between persons. He has not created me for naught. I shall do good, I shall do His work; I shall be an angel of peace, a preacher of truth in my own place, while not intending it, if I do but keep His commandments and serve Him in my calling.

Therefore I will trust Him. Whatever, wherever I am, I can never be thrown away. If I am in sickness, my sickness may serve Him; in perplexity, my perplexity may serve Him; if I am in sorrow, my sorrow may serve Him. My sickness, or perplexity, or sorrow may be necessary causes of some great end, which is quite beyond us. He does nothing in vain; He may prolong my life, He may shorten it; He knows what He is about. He may take away my friends, He may throw me among strangers, He may make me feel desolate, make my spirits sink, hide the future from me—still He knows what He is about.

O Adonai, O Ruler of Israel, Thou that guidest Joseph like a flock, O Emmanuel, O Sapientia, I give myself to Thee. I trust Thee wholly. Thou art wiser than I—more loving to me than I myself. Deign to fulfil Thy high purposes in me whatever they be—work in and through me. I am born to serve Thee, to be Thine, to be Thy instrument. Let me be Thy blind instrument. I ask not to see—I ask not to know—I ask simply to be used.

(Meditations and Devotions “Hope in God – Creator”)

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Faber’s Oxford Poems: Part I

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A view of the Bodleian Library from Radcliffe Square. Photo taken by author.

Fr. Frederick William Faber, that great son of St. Philip, was one of the many Oxford converts. He was a Balliol man who later became a fellow of University College, where he embarked on an ecclesiastical career as an Anglican. Later, of course, he came to the Church of Rome and founded the London Oratory. But as I am now settling back into Oxford, I thought it might my readers might enjoy a few of his poems about life at the University. I’ll probably break the collection up into a few different posts. Although Faber was later famous as a hymn-writer, in his youth he was a Romantic poet who won the admiration of none other than Wordsworth, whom he met in the Lake District. Faber’s style may be rather too Victorian for our tastes today. They also represent his spirituality at a very immature stage, when he was still an Anglican. The contrast between “College Chapel’s” rather pathetic final line and Faber’s “Muscular” pose in “College Hall” amuses, to say the least. But occasionally, as in “College Garden,” his sensuality and yearning anticipate the best of the Decadents who came at the end of the century. Finally, I’ll add that Faber’s romantic attachment to the legends and traditions of the English medieval monastics once again confirms my point that there remains an abiding affinity between the Oratorian and Benedictine charisms. 

College Chapel

A shady seat by some cool mossy spring,
Where solemn trees close round, and make a gloom,
And faint and earthy smells, as from a tomb,
Unworldly thoughts and quiet wishes bring:
Such hast thou been to me each morn and eve;
Best loved when most thy call did interfere
With schemes of toil or pleasure, that deceive
And cheat young hearts; for then thou mad’st me feel
The holy Church more night, a thing to fear.
Sometimes, all day with books, thoughts proud and wild
Have risen, till I saw the sunbeams steal
Through painted glass at evensong, and weave
Their threefold tints upon the marble near,
Faith, prayer, and love, the spirit of a child!

College Hall

Still may the spirit of the ancient days
Rest on our feasts, nor self-indulgence strive
Nor languid softness to invade the rule,
Manly, severe, and chastethe hardy school
Wherein our might fathers learnt to raise
Their souls to Heaven, and virtue best could thrive.
They, who have felt how oft the hour is past
In idle, worldly talk, would fain recall
The brazen Eagle that in times of yore
Was wont to stand in each monastic hall;
From whence the Word, or some old Father’s lore,
Or Latin hymns that spoke of sin and death
Were gravely read; and lowly-listening faith
In silence grew, at feast as well as fast.

College Garden

Sacred to early morn and evening hours,
Another chapel reared for other prayers,
And full of gifts,smells after noon-day showers,
When bright-eyed birds look out from leafy bowers,
And natural perfumes shed on midnight airs,
And bells and old church-clocks and holy towers,
All heavenly images that cluster round.
The rose, and pink acacia, and green vine
Over the fretted wall together twine,
With creepers fair and many, woven up
Into religious allegories, made
All out of strange Church meanings, and inlaid
With golden thoughts, drunk from the dewy cup
Of morns and evenings spent in that dear ground!

College Library

A churchyard with a cloister running round
And quaint old effigies in act of prayer,
And painted banners mouldering strangely there
Where mitered prelates and grave doctors sleep,
Memorials of a consecrated ground!
Such is this antique room, a haunted place
Where dead men’s spirits come, and angels keep
Long hours of watch with wings in silence furled.
Early and late have I kept vigil here:
And I have seen the moonlight shadows trace
Dim glories on the missal’s blue and gold,
The work of my monastic sires that told
Of quiet ages men call dark and drear,
For Faith’s soft light is darkness to the world.

“They Shall Not Bind Thy Wounds With Oil and Wine”

Occasionally I like to present obscure poetry here, especially by unusual figures. My readers will no doubt be well aware of my love of the bizarre and morbid. Here are two extremely rare poems from that equally strange poet, Count Eric Stanislaus Stenbock, an Anglo-Baltic aristocrat who dabbled in just about every religion known to man, kept a menagerie of wild animals at his Estonian palace, and carried a doll he called “le Petit Comte” that he always insisted was his son.

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Count Stenbock. A more like Huysmans’s Des Esseintes has never walked the earth. (Source)

Original collections of his Decadent verse fetch tens of thousands on the open market. I was privileged enough to view two of them at the Bodleian last year, my source for these two poems. The first dates from 1893, the second from 1883. I chose these two from several others because of the rather striking thematic contrast they afford.

Sonnet VI

O vos ómnes qui transítis per víam, atténdite et vidéte: Si est dólor símilis sícut dólor méus.”

All suffer, but thou shalt suffer inordinately.
All weep, but thy tears shall be tears of blood.
I will destroy the blossom in the blood,
Nathless, I will not slay thee utterly
Nay, thou shalt live—I will implant in thee
Strange lusts and dark desires, lest any should,
In passing, look on thee in piteous mood,
For from the first I have my mark on thee.

So shalt thou suffer without sympathy,
And should’st thou stand within the street and say:
“Look on me, ye that wander by the way,
If there be any sorrow like to mine.”
They shall not bind thy wounds with oil and wine,
But with strange eyes downcast, shall turn from thee.

Sonnet I – Composed in St. Isaac’s Cathedral, St. Petersburg

On waves of music borne it seems to float
So tender sweet, so fraught with inner pain,
And far too exquisite to hear again
Above the quivering clouds that single note,
The tremendous fires of the lamp-light gloat
On the exceeding sweetness of that strain—
Though mightest spend a lifetime all in vain
In striving to recall it, yet recall it not.

Therein are mingled mercy, pity, peace,
Tears wiped away and sorrow comforted,
Bearing sweet solace and a short relief
To those, that are acquainted well with grief,
Reviving for a time joys long since dead,
And granting to the fettered soul release.

Anglicans, Sex Abuse, and the Seal of the Confessional: The Controversy and Why it Matters for Catholics

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An exemplary confessional from Toulouse, France. As with most things in life, the more Solomonic columns, the merrier. (Source)

Controversy is hardly a rarity in the Church of England. Yet not every controversy among Anglicans has possible implications for Roman Catholics. The most recent kerfuffle does.

On Tuesday, May 29th, the Rev. Canon Robin Ward SSC, Principal of St. Stephen’s House, Oxford, posted the following status on Facebook.

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Source: Facebook.

Anglo-Catholics have an amusing tendency to apply the Roman Code of Canon Law to their own ecclesial life, if only to frustrate the machinations of Evangelical bishops. It’s one of the oldest AC tricks in the book. A venerable tradition of principled disobedience, if you will.

But that is not what Fr. Ward is doing here. He is referring to the Anglican Code of Canon Law, which does indeed affirm the seal of the confessional as a sacramental norm (See Canon 113). Since Fr. Ward’s post, there has been an enormous to-do in the press. It seems that, although these guidelines came out in 2015, no one has noticed until last week. Forward in Faith, the pressure group advocating for traditionalist Anglo-Catholicism in the Church of England, released a concise yet substantive denunciation of the Canterbury guidelines. Indeed, this is not the first time they have addressed the issue. The predictably tedious Church Times report on the matter has come out. Religious sites like Christian Today have written about the controversy. This attention was, perhaps, to be expected. But even secular newspapers are starting to notice. Both The Times and The Telegraph have picked up the story.

Some context may be useful for those who don’t hold their ear to the ground of internal Anglican politics. The Bishop of Dover, who actually governs the See of Canterbury in place of the Archbishop, issued these guidelines. He is not generally known for accepting Catholic doctrine on this or any sacramental point.

No doubt some of my Catholic readers will interject at this point, “Of course he wouldn’t. He’s a Protestant!” Fair enough. But Anglo-Catholics in the United Kingdom do tend to accept lots of Roman doctrine. There are even pockets where Anglo-Papalism – that heady brew of Baroque ceremonial, English sacral vernacular, devotional maximalism, attachment to a male-only priesthood, and slavish Ultramontane sympathies – still exists. And most of those Anglo-Catholics accept the Roman teaching that the wilful withholding of sins by a penitent in confession is itself a mortal sin, thus invalidating any absolution. I will leave aside the dubious question of sacramental validity for now. The point is that Anglo-Catholics really do believe all this, and they treat confession in much the same way that devout Roman Catholics do. Anglo-Catholics with the cure of souls live by that rule. It is only logical that the head of an Anglo-Catholic seminary would thus take serious umbrage with a move in the Primate’s own diocese that was manifestly a) uncanonical, and b) mortally sinful.

But here is another reason for concern, even for us Romans. The diocese responded to Fr. Ward with the risible if disturbing claim that “[The mandated disclaimer] is intended to advise the penitent not to divulge in confession something which would legally compromise the position of the priest.” This is an extremely telling phrase; it constitutes the tacit admission that a diocese in the Church of England is surrendering the legal viability of the seal of the confessional, period. Mandatory reporting is the order of the day, and the sacrament must be deformed to fit it. I hope Catholics prick up their ears.

This guideline was promulgated against the backdrop of the Clerical Sex Abuse scandal. The C of E has been grappling with the same deep evils that have plagued the Roman Catholic Church in recent history. While the bishops have taken some good and appropriate steps in safeguarding, nevertheless, mistakes have also been made. Take the case of Bishop George Bell, accused of abuse posthumously and subsequently subjected to a multi-year botched inquiry and, arguably, public character assassination. Yet the Archbishop of Canterbury has dug in his heels on the guilt of George Bell in spite of the evidence that the Church’s investigatory body was irresponsible and hasty in its conclusions.

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Bishop George Bell…abuser or victim? Hard to say after the C of E’s deeply flawed investigation. (Source)

Do I know whether the confession guidelines for the Archbishop’s own diocese have been crafted with an eye to that particular scandal? No. It’s impossible to say. But we can safely say that the Bishop of Dover’s dissolution of the seal of the confessional is a similar misstep in the Church’s ongoing attempt to come to terms with the legacy of child abuse.

Of course, the same problem has existed, in a much more flagrant and public way, in the Roman Catholic Church. And it is this connection that should make the Bishop of Dover’s move so troubling to Catholics. His guidelines didn’t materialize out of the air. Similar suggestions have been made to National Inquiries about clerical sex abuse in Britain. Even more serious developments in Australia have seen wider discussions about legally abolishing the seal of confession.

But to return to the United Kingdom – let’s not forget that the Church of England is a motley crew of clerics who think their coreligionists are, at best, mistaken, and at worst, heretics. Evangelicals, Liberals, and Anglo-Catholics of every stripe take deeply divergent views of the sacraments. If the Bishop of Dover’s guidelines are allowed to stand under the current Code of Canon Law, what’s to stop other bishops from adopting them in their own sees? Evangelicals generally don’t have the same hang-ups about confession as Catholics, and liberals may see the change as a progressive step. If enough bishops do adopt the guidelines, they can start to change the culture of the church. Once ordinary Anglicans become used to this exception in the confessional seal (among those who practice confession at all, which is probably a fairly low number anyway), what kind of pressure will the clergy start to exert on the Roman Catholics of England? What if Parliament takes up the cause, following the precedent of the Australians? What if mandatory reporting is extended by law to all clergy without exception? What then?

A slippery slope, you say? Maybe. But there are liberal Anglicans who have already attacked traditionalist Anglo-Catholics – the most Roman people in the Church – on precisely these terms. The Rev. Martyn Percy, Dean of Christ Church, Oxford, argued (in Holy Week!) that sex abuse is tied to traditionalism among Anglo-Catholics and Evangelicals. Without a hint of irony, he writes,

There are common denominators between these two ecclesial cultures. They deny women equality. They are squeamish about sexuality. They sacralise ambiguity. They put their leaders on unimpeachable pedestals. The worst abuses flourish in the cultures that are self-righteous.
(emphasis mine – RY)

Other liberal Anglicans have suggested that “angry, conservative religion…in the Church of Rome” will have to undergo various changes to accommodate modernity. One could reach for examples. I will merely say that there is no shortage of criticism directed towards the Church of Rome by Anglicans who don’t identify as either traditionalist or Anglo-Catholic. And let us not forget the long and terrible history of English anti-Catholicism, a staple of British culture from the Reformation on. It has cropped up even in our own times.

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“The tongue of St. John Nepomuk surrounded by five episodes of his life.” Behold, the saintly tongue that would not break the seal. (Source)

What happens in the Church of England matters in no small part because it is the Established Church. It is thus something of a thermostat (or at least a thermometer) of public religious opinion in Great Britain. The prospect of the Anglicans ceding the seal of confession to the investigatory apparatus of the state, and thus normalizing the violation of the seal, is a dangerous prelude for the Catholics of this country.

And of course, there’s the very practical point that mandatory reporting even for confessions will not produce more results. Abusers will simply stop confessing those sins, even as the abused will no longer be able to confide in their priests. Who does it hurt? The most vulnerable. Who does it help? No one.

Catholics believe that the seal of the confessional is absolute. It is the guarantee that when a penitent sincerely asks forgiveness for his sins, he can be sure that he is receiving absolution from someone who will never reveal his past. It is Christ who hears and forgives, not the priest in himself. And Christ is the “Lamb of God, who takes away all sins.” The seal of the confessional expresses this mystical reality. The saints have always known that “neither death nor life, nor angels nor principalities nor powers, neither what is present nor what is to come, no force whatever, neither the height above us nor the depth beneath us, nor any other created thing” could justify, force, or provoke the violation of the seal of the confessional (Rom 8:38-39). Some were martyred for keeping holy silence.

I hope and pray that we will never see martyrs of the confessional in our time. But if worst comes to worst, will our priests be willing to shed their blood for the trust they have been given?

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St. John Nepomuk, martyred for refusing to break the seal of the confessional. May he intercede for us wherever the seal is challenged. (Source)

Perhaps this controversy, like so many, will turn out to be nothing more than a tempest in the teapot. I would happily look back on this piece in many years’ time and say that my fears were all ill-founded and misbegotten. Let me be accused of hysteria! I would rather be worried over nothing than prove a Cassandra. But as things develop, it may not be a bad idea to pray for the intercession of St. John Nepomuk.

 

 

Springtime Sophiology from St. Nicodemus

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Gate on Addison’s Walk, Magdalen College, Oxford. Photo by author.

Now there are of course those who do not use the senses and the subsequent meditation on creation and Holy Scripture to rise through them to the knowledge and love of God, who both spoke the Scriptures and created the world. On the contrary, such people use this sense perception simply for human aggrandizement, for the marvel and mere pleasure of the corruptible beauty in creatures, and for other bodily purposes. Or, at least, they simply remain on the level of the limited purposes of the creatures and of the Scriptures. They thus neglect to proceed further, to rise to the catholic and comprehensive view of things, to God’s wisdom through which all things are known and in which all the reasons for each creature are to be found, according to St. Maximos. “The Lord by wisdom founded the earth…When he established the heavens, I was there” (Prv. 3:19, 27). St. Basil the Great too had something to say on this point: “There are indeed certain reasons why the primordial wisdom of God was laid as a foundation to nature at the time of creation.” Now, those who do not rise – through the reason endowed in nature and in the Holy Scriptures – to the hypostatic Logos of God, those who do not love Him “through whom all things were made” (Jn 1:3), as most of the worldly philosophers do not, all of these people act contrary to the Creator’s purpose in nature and in Holy Scripture. And according to the wise and most insightful Kallistos, the thought of such people has lost its natural tendency and has become unnatural. This has occurred because they use the means as ends in themselves, and the causes as results, and they love the gifts more than the Giver and the creatures more than the Creator, as St. Augustine has said. Since creation was not created for itself, but for the vision and glory of its Creator, it is not proper that it should be seen and admired for its own sake, but rather for the sake of its Creator. It is the same with the mirror which one does not look at for its own sake, but for the sake of the one reflected in it.

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St. Nicodemus of the Holy Mountain (Source)

We may add, finally, that the secondary goal and purpose for the creation of the senses is so that the material body may be able to enjoy through them material nourishment, growth, and life. Truly, I do not know what to marvel at most: the “palace” that is so intricately constructed or the “king” who dwells therein. But of these two, I must certainly marvel most at the master artist and the Creator who with infinite wisdom not only created both of them, but also united the mind and body in such perfect harmony.

Quoted from Chapter One of A Handbook of Spiritual Counsel by Nicodemos of the Holy Mountain, Trans. Peter A. Chamberas, Paulist Press, 1989, pages 73 and 74. 

My Favorite Hymn to St. Philip Neri

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St. Philip, pray for us (Source)

As my readers will well know, St. Philip Neri is my favorite saint and has been for a long while now. I take every opportunity I can to sing his praises on this blog, and today happens to be one of them. In Oxford, we are celebrating the Feast of the Patronage of St. Philip, a local solemnity that honors the canonical erection of the house here as a Congregation of the Oratory. Please pray for the Oxford Fathers on this, their silver jubilee.

To celebrate, here is my favorite hymn to the Apostle of Rome – Pangamus Nerio, as sung by the choir of the Birmingham Oratory. It is the vesperal hymn of St. Philip.

Pangamus Nerio, debita cantica
Quem, supra nitidi sydera verticis,
Virtus et meritum sustulit inclytum,
Carpturum pia gaudia.

Noctes sub spectabus, corpora martyrum,
Quas implent, vigilat sedulus integras,
Ex ipsis satagens discere mortuis
Normam qua bene viveret.

Nocte dum Nereus fercula pauperi,
Gestans praecipitat, panniger Angelus
Tecto significat, qualiter excidat
Numquam fervida caritas.

Orantis penetrans cordis in intimum,
Laxavit spatium Spiritus impete
De Coelo veniens, esset ut hospiti
Immenso locus amplior!

Coelorum Domino, dum sacra munera
Libabat Nerius, saepius advolans,
Tellurem rapido corpore deserit,
Christo fiat ut obvius!

Corpus deseruit, cum Deus Hostiae
Fertur sub niveae tegmine conditus,
Prudens, in Patriam, pergere splendide
Nolens absque Viatico.

Amen.

Unfortunately, I don’t have an English translation (nor the time and energy to translate from the original myself). Alas.

May St. Philip Neri pray for Oxford, for the Oratorians there, and for all of us who call upon him in filial affection.

 

The Triumph of Color: Notes on the Anglo-Catholic Aesthetic

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The Altar Mosaics of Keble College Chapel, Oxford, designed by William Butterfield (Source)

Two facts have become steadily clearer to me over the course of my life as a Roman Catholic. First, that we don’t do beauty like we used to. Our churches are rife with liturgical art as dated and outré as the plastic on your great aunt’s furniture. Many of our houses of worship are stuck in the 1970’s, riddled with patently ugly, non-figurative depictions of Christ and the saints. Abstract windows cast unseemly splashes of light over softwood pews. And there are far too many carpets. My own old parish at UVA, St. Thomas Aquinas, is just now overcoming its long “awkward phase” (symbolized by an enormous chrome statue of the Angelic Doctor that looked like a cross between Buddha and the Tin Man – unhappily placed right across the street from the Chabad House).

In short, we have a problem with beauty.

The second thing I realized is that the Anglo-Catholicsor at least, those corners of the Anglo-Catholic world that held onto their patrimonydo not. And it seems to me that much of the renewal in sacred art that we’re witnessing today is indebted to the Anglo-Catholics, as any browsing on New Liturgical Movement will show. There is a distinctive style associated with the AC tradition. My hope is that by examining a few of its exponents, we might come to get a better glimpse of the art that is renewing our own Church today.

Augustus Welby Northmore Pugin (1812-1852)

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Tiles designed by A.W.N. Pugin. (Source)

A.W.N. Pugin, it must be said, was not an Anglo-Catholic. He was a Roman convert. But the story of the Anglo-Catholic style must begin with the Gothic Revival that Pugin led. He radically and even polemically departed from the old norms of Anglican liturgical design. Pugin hated the High-and-Dry preaching tabs and whitewashed walls and triple-decker pulpits of the 18th century Church of England. For Pugin, all of that represented the moral and spiritual degradation of the British people from a purer, Medieval ideal.

So he turned instead to the architecture and design of the Middle Ages. He reintroduced conical vestments to England. He set up altars with gilded angels and smiling saints and all manner of gloriously decorated tiles. He designed chalices and monstrances. He almost single-handedly re-established the rood screen as a typical feature of English churches.

Above all, he built. Pugin is perhaps best known as an architect. His first publication after he converted to Roman Catholicism was a highly polemical text entitled Contrasts (1836). He attempted to show, by way of (rather unfair) architectural differences, that the religious and social makeup of the Middle Ages was decidedly better than the squalid life of post-Reformation modernity.

It’s ahistorical nonsense, but very pretty ahistorical nonsense at that.

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One page of Pugin’s Contrasts. He’s making a threefold argument: aesthetic, religious, and socio-political. One can start to see here the origins of the Victorian Socialism associated at once with Anglo-Catholics and the likes of William Morris’s arts-and-crafts movement. There is no doubt some irony in this, as John Ruskin hated him. Yet it is hard to imagine the Pre-Raphaelites coming about without both Pugin and Ruskin (Source).

Consider how radical Pugin’s claim in Contrasts really is. He’s not saying that Catholic architecture is better than Protestant forms. He’s saying that the only Christian architecture is Gothic. It doesn’t matter if the Catholic Church had promulgated and supported all kinds of other schools over the years. The only truly Christian style was that which reigned at the high noon of Christendom. The rest were compromises with paganism. Is it all that surprising that Pugin and Newman never really cooperated? Oratorianism is a Counter-Reformation phenomenon, and both of the first English Oratories were built in a grand Neo-Baroque style. There was an amusing spat between Faber and Pugin when the latter visited St. Wilfrid’s, where he would later build a church. What started off as a friendly chat turned into a vigorous fight. Faber inveighed against rood screens and Pugin accused Faber of favoring the “pagan architecture” of, inter alia, Italy. Alas.

Pugin, however, was probably more influential than Newman or Faber when it came to setting 19th century tastes in liturgical art. As the father of the Gothic Revival, he inspired generations of imitators and rivals (including some on this list). Many of those architects were widely respected in their own day. None of them could boast of designing the interior of the House of Lords and the architecture of Big Ben. Pugin achieved a wide success that nevertheless remained rooted in his liturgical work. Everything came from his fundamentally ecclesial imagination.

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Frontispiece of Pugin’s An Apology for the Revival of Christian Architecture in England (1843). Baroque, Palladian, Renaissance, and Byzantine architects need not apply. (Source)

But it was, alas, a sick imagination. Pugin was always an odd personality. He suffered a mental breakdown at the age of 40, and ended up in Bedlam. He died shortly thereafter.

His legacy is clear. Pugin represents the triumph of color over the barren church design of the previous century. God comes to us in sacraments, and sacraments are material. Pugin’s work can be read as a celebration of matter in all the various hues and tints of the rainbow. He intended to use his art as a way of reviving the Catholic religion in England. He found a ready audience in the new wave of ritualists then entering the Anglican clergy. It would probably not be too great a stretch to say that, as founder of the Gothic Revival, Pugin gave the Oxford Movement its own aesthetic, distinct from Roman Baroque and Evangelical austerity.

William Butterfield (1814-1900) and Alexander Gibbs

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The interior of Keble College Chapel, Oxford. Designed by the highly original Neo-Gothic architect, William Butterfield. (Source)

Another architect who worked alongside and after Pugin was William Butterfield. Like, Pugin, his churches dot the English landscape. But Butterfield’s work is distinguished by a salient feature not found in that of his colleague. He extended Pugin’s use of elaborate interior color to external polychromy. One can glimpse this in his most famous commission, Keble College, built in the 1870’s.

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Keble College, Oxford. Established as a tribute to the founder of the Oxford Movement, John Keble. (Source)

His design was extremely controversial at the time, derided as “the ‘holy zebra’ style” by detractors. I have heard, though I cannot trace the source, that others described the chapel as “an elephant wearing a sweater.”

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Exterior of Keble College. Photo taken by author.

Butterfield synthesized Pugin’s Gothic Revival with the insights of John Ruskin, who wrote positively of Renaissance polychromy in The Seven Lamps of Architecture (1849). Ruskin was another enormous influence on the Anglo-Catholic style, whose influence I will not attempt to trace in full here. Regardless, it is worth noting that Butterfield took Ruskin’s lessons to heart. Keble College is just one of many examples one could point to that exhibit the same style. Another is the fabulous All Saints Margaret Street, a dizzying Neo-Gothic mirage tucked away in Fitzrovia.

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Two angels in a Keble mosaic. (Source)

Coming into Keble College, you are assailed by the sheer riot of colors. It’s almost like walking into a giant candy store, only the wonderful smells of chocolate and mint have been replaced by incense and tapers. That delightful sensory onslaught stems in part from the other great feature of the chapel, the radiant mosaics by Alexander Gibbs. There is something naive in the way Gibbs’s mosaics portray the human subject. One is reminded of the illustrations in a children’s book, or perhaps even a cartoon.

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The Noah mosaic, Keble College Chapel. Photo by Fr. Lawrence Lew OP. (Source)

Take, for example, the mosaic of Noah offering sacrifices. There is hardly any hue or tint left unused. Note the range of colors seen just in the fire on the left – there’s even a green flame! Meanwhile, the dove which hovers over the scene is not pure white, but flecked with yellow and orange, as if already anticipating Pentecost. And no two halos are alike.

This tendency towards the illustrative and cartoonish will become a major hallmark of Anglo-Catholic style throughout the rest of the period.

Sir Ninian Comper (1864-1960)

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Cope designed by Sir Ninian Comper, depicting Our Lady of the Cenacle at Pentecost. (Source)

Another architect and liturgical designer who left his mark on the style of Anglican Catholicism was Sir Ninian Comper. His works are immediately recognizable by their lavish use of gilding, a charming mixture of Gothic and Neoclassical elements, elaborate recessing, and odd penchant to depict Christ as a blond youth.

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Reredos of St. Sebastian, Downside Abbey. Photo by Fr. Lawrence Lew OP (Source).

Comper worked for both Anglican and Roman Catholics. A fine example of this latter sphere of influence can be seen in his magnificent altars at Downside Abbey. However, as I am attempting to consider what art produced a distinctively Anglo-Catholic style, I will limit my inquiry to those commissions he completed for the Church of England. To that end, two sites in Oxford deserve attention.

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The Blessed Sacrament Altar, Pusey House, Oxford. (Source)

Pusey House is a “house of sacred learning” affiliated with the C of E in Oxford. Built as a monument to Edward Bouverie Pusey, Tractarian and one-time colleague of John Henry Newman, Pusey House remains a stalwart bastion of Anglo-Catholicism and High Churchmanship more broadly (not to mention some excellent gin). Its Blessed Sacrament Altar is a remarkable representative of Comper’s work.

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The golden art of Sir Ninian Comper. Photo by Fr. Lawrence Lew OP. (Source)

Both the windows and the baldachin at Pusey’s Blessed Sacrament Chapel were designed by Comper. Above, you can see two examples of one of his favorite motifs, which I call “Jesus as a Blond Youth.”

Sir Ninian was a fine craftsman of baldachins. Although examples remain which show Christ or the Virgin, his signature seems to have been the Holy Ghost descending as a radiant dove. The Pusey House baldachin is one such example.

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Photo by Fr. Lawrence Lew OP. (Source)

Here we can see in the putti just a touch of the cartoonish, like we observed in Butterfield and Gibbs. Yet Comper was quite capable of producing work of a very different nature. His baldachin at the monastery of the Cowley Fathers, now St. Stephen’s House, Oxford, is notable for its stark beauty.

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St. Stephen’s House Chapel, Oxford. Photo taken by author.

Yet even here we can see Corinthian capitals adorning the columns. It wouldn’t be recognizable as a Comper piece without them.

Like many on this list, Comper contributed to the revival of devotion to Our Lady of Walsingham. The Anglican shrine possesses “three stained glass windows, the Holy House altar and two sets of vestments” by Comper.

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Sir Ninian Comper’s altar at Walsingham. A classic example of his work, drawing together numerous Comperian motifs: gilding, cherubim, Corinthian capitals, a certain illustrative naïveté, elaborated decorated canopy, and the use of sunbursts. The last motif will also mark the work of another major Anglo-Catholic stylist. (Source)

What did Comper contribute to the Anglo-Catholic style? He took the tendency towards extravagance, already seen in Pugin and Butterfield, to a new height. Yet he was able to blend eras seamlessly, mixing elaborate Gothic and Classical features into a new and distinctive style. His work represents Anglo-Catholicism at its most confident height, the Congress Movement of the 1920’s and 30’s. Our next two artists also produced their most important works in conjunction with that great age of Anglo-Catholic action.

Martin Travers and the Society of SS. Peter and Paul (1886-1948)

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An Advent illustration by Martin Travers. Notice his unique font, as well as the English version of the Introibo with the Virgin and Child. (Source)

During the 1920’s and 30’s, an increasingly resurgent Anglo-Catholicism reasserted itself. Several major conferences, known as the Anglo-Catholic Congresses, brought together thousands of movement leaders and adherents as well as leading to the proliferation of numerous theological tracts. One year, the Congress organizers even exchanged messages of ecumenical good will with the bishops of various Eastern Orthodox churches. Here was the age of a sophisticated and confident Anglo-Catholicism that could win converts like T.S. Eliot, who entered the church in 1927.

Yet in spite of the show of unity suggested by the Congresses, the truth was that the Anglo-Catholics were deeply divided. One nasty fissure was the liturgy. Should Anglo-Catholics use the Book of Common Prayer? Some said yes. Others, however, thought it was a deeply compromised document arising out of schism and heresy. They turned instead to the Mass of St. Pius V. As they couldn’t just celebrate a Latin Mass, they translated it, with a few Cranmerian collects here and there, into sacral English. The result was the famous Anglican Missal or Knott Missal.

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The emblem of the Society of SS. Peter and Paul. (Source)

The missal was produced by the Society of SS. Peter and Paul, the leading body that represented Anglo-Papalism within the C of E. Generally, Anglicans associated with the Society considered the Pope the legitimate head of the Western Church, took part in Marian devotions, carried on Eucharistic processions, and celebrated a rite nearly indistinguishable from the Tridentine Mass. They worked against other Anglo-Catholics who sought a distinctively English liturgical ethos rooted in the Sarum Rite.

The Society chose an artist named Martin Travers to illustrate many of their publications, including the Anglican Missal. The work Travers produced would continue to shape the Anglo-Catholic aesthetic in profound ways.

For one thing, he illustrated the Mass. His vision of the liturgy was strictly Roman. You can see that he had a marked preference for Baroque vestments and altars in his rendition of “The Elevation of the Host.”

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Travers’s extremely Latinate liturgical tastes dovetailed well with the spirituality promulgated by the Society of SS. Peter and Paul. (Source)

In keeping with the trends we have already observed in Gibbs and Comper, Travers’s illustrations often have a naive quality about them. The works are at once highly complex and centered on a frank simplicity.

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A requiem illustration by Martin Travers. (Source)

Yet they retain a certain elegance and poise, as with this Marian image. We can see here one of his favorite motifs, figures set in sunbursts. It recurs again and again throughout his body of work.

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A depiction of Mary and the Christ Child over London. (Source)

Yet Travers was by no means simply a draughtsman and illustrator. He also produced altarpieces. His style was heavily Baroque, though he was known to occasionally draw upon Art Deco elements. Looking at anything by Travers, we get the sense of a consummate master pulling together a number of traditions with ease. The aesthetic coup he achieved was the natural parallel to the spiritual ascent of the Anglicans most devoted to a reunion with the Apostolic churchesAnglicans who made it their business to blend the Roman and English patrimonies in one sacral event.

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Travers’s High Altar at St. Mary’s, Bourne Street, London. (Source)

Like Comper, Travers was also known to remodel the work of older generations. Here we can see the fine reredos he worked upon in the Wren church of St. Magnus the Martyr, London. The Church was (and, I believe, remains) a bastion of Congress Anglo-Catholicism.

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High Altar at St. Magnus the Martyr, London. (Source)

Travers represents an Anglo-Catholic Baroque turn at a time when the larger movement was more confident than ever in the “Corporate Reunion” so long hoped for. Although that momentous reconciliation never took place, it inspired a delightful appropriation of Tridentine aesthetics. Through his drawings and ecclesiastical design, Travers was the chief conduit by which the continental tradition of liturgical art infused the Church of England.

Enid Chadwick (1902-1987)

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A marvelous and very Anglican polyptych by Enid Chadwick. The photo was taken by a friend of mine, Bishop Chandler Jones of the Anglican Province of America, who blogs over at Philorthodox. From left to right, the figures are: St. Uriel, Blessed Charles the Martyr, St. Augustine of Hippo, St. Michael, Our Lady of Walsingham with Our Lord, St. Gabriel, St. Ambrose of Milan, St. Edward the Confessor, and St. Raphael. (Source)

The last artist I will profile here is probably well known to those of you who keep tabs on the Catholic blogosphere. Although largely forgotten for decades, the art of Enid Chadwick has made a comeback since the advent of the Internet. Her wonderful 1957 children’s book, My Book of the Church’s Year, has been put online, and images from it keep popping up on various feasts.

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A typical Chadwick illustration from My Book of the Church’s Year. (Source)

In her work, we see once again the quintessentially Anglo-Catholic simplicity amidst ornamentation. The resemblance to the mosaics of Gibbs or the drawings of Travers is striking. Her illustrations for My Book of the Church’s Year, like all her illustrations, have a tender humanity about them. Yet they also breathe of a patriotic sentiment. Note that in the pages for March, St. David and St. Patrick are both shown with the simplified arms of their respective nations. It is. after all, an Anglican book. But on the other hand, we see St. Thomas Aquinas commended specifically for his Eucharistic writings, St. Benedict as the founder of “one of the great Religious Orders,” and an intricately decorated Annunciation. It is thus also a Catholic book. Mrs. Chadwick, like Travers before her, manages to gracefully blend the two traditions in a way that would not have been possible one hundred years earlier. Her gentle work represents a single sensibility: confident, late-stage Anglo-Catholicism.

Enid Chadwick March 1Enid Chadwick March 2

 

As with Comper and Travers, Mrs. Chadwick roots her work in a loving contemplation of the human face of God. Thus, all of her art is figurative. Unlike Comper and Travers, she never crossed the border from draughtsmanship to the world of three-dimensional liturgical design. One does wonder what the world may have gained if she had designed an altar or two. Alas. She was happy, instead, to deploy her considerable talent to an articulate, delightful, and evangelically potent form of illustration. What’s more, her art is not just an achievement in itself. It served a purpose: to instruct and edify. The popularity that these images enjoy today suggest that they still retain the power they once had. Her many books, now all out of print, will some day be returned to press or left to the public domain. That will be a very great day for the Church indeed.

In the meantime, I hope we can bring back some of her tasteful and theologically sound Christmas cards.

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A collage of Enid Chadwick’s Christmas cards, all taken from here.

One notable figure in all of these cards is Our Lady. The Madonna is the central figure of Mrs. Chadwick’s art. She lived in Walsingham most of her life, and dedicated much of her talent to propagating devotion to Our Lady of Walsingham. She even illustrated the second edition of Fr. Hope Patten’s book about the shrine.

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One of Chadwick’s illustrations for the Anglican Shrine of O.L. of Walsingham. (Source)

Enid Chadwick’s work represents the final chapter of Anglo-Catholicism as an aesthetically creative movement. The latter half of her career coincided with the Second Vatican Council. One unintended consequence of the Council was that, in addition to the degradation of taste that spread through the Roman Church, the same infection spilled over to the Anglican Communion. The ghastly ecclesiastical embroidery of Beryl Dean is proof enough of the collapse in liturgical arts. So, too, are the tacky materials worn by the incumbent Archbishop of Canterbury on multiple occasions. His iconic miter-and-cope set would look better in an episode of Doctor Who than at the stately cloisters of Westminster.

Yet I am not qualified to assess how far the rot has set into the C of E. At the very least, the National Trust has done tremendous work in preserving and restoring many of the churches that made up the fabric of the Anglican heritage. I know from personal experience that there are pockets of tremendous taste and devotion still left in the Anglo-Catholic world. However, I can also say that the Roman Church is still reeling in many places from the obnoxious stylistic choices of the postconciliar generation. My hope is that this essay might contribute, in some small way, to a greater appreciation of the Anglican Patrimony and what it might teach us.

A few clear lessons emerge. First, we have to get over our toxic allergy to all things Gothic (or Baroque, or Romanesque, or Byzantine, etc.). We needn’t go as far as Pugin in declaring one style to be definitively “Christian” to the exclusion of the rest, but we ought to embrace our own history. We shouldn’t fear extravagance in liturgical design as long as it’s well-executed, glorifies God, and directs the soul to worship the Eucharistic Lord. Yet we can also balance that tendency with a complementary emphasis on holy simplicity. Let us always recall that a Catholic imagination is only properly formed across several types of artistic encounter. We should foster and seek sound Catholic illustration as much as sound Catholic architecture or sound Catholic liturgical design. Finally, we shouldn’t fear radiance and color and the human face. Only then might we one day repeat the triumph of color that nearly converted a nation.

A Poem for the Feast of the Blessed John Duns Scotus

Oxford

Scotus preached and prayed at the University Church of St. Mary the Virgin, now an Anglican parish – there is now a plaque commemorating him on one of the walls. I have heard differing accounts of where his house of Greyfriars would have stood, either near St. Aldate’s or in what is now Brasenose College. (Source)

Duns Scotus’s Oxford

Gerard Manley Hopkins SJ

Towery city and branchy between towers;
Cuckoo-echoing, bell-swarmed, lark-charmed, rook-racked, river-rounded;
The dapple-eared lily below thee; that country and town did
Once encounter in, here coped and posed powers;

Thou hast a base and brackish skirt there, sours
That neighbour-nature thy grey beauty is grounded
Best in; graceless growth, thou hast confounded
Rural rural keeping — folks, flocks, and flowers.

Yet ah! this air I gather and I release
He lived on; these weeds and waters, these walls are what
He haunted who of all men most sways my spirits to peace;

Of realty the rarest-veined unraveller; a not
Rivalled insight, be rival Italy or Greece;
Who fired France for Mary without spot.

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Blessed John Duns Scotus, Pray for Us. (Source)

The Demonologist: Montague Summers

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Montague Summers in clerical garb. (Source)

The history of the Church is a history of odd birds, but it is harder to find odder birds than those which inhabited the British Isles in the fruitful years of the Catholic Revival. The eccentricities of certain English clergy are well-known and well-beloved. One of the great flowers of this tendency was Montague Summers.

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A flying devil. (Source)

Augustus Montague Summers was born in Bristol, the youngest of seven. Eventually he went on to study at Trinity College, Oxford, with the intent of seeking ordination in the Church of England. After some time at Lichfield Theological College, he was eventually deaconed and spent his curacy in Bath and the Bristol area. Even at this young stage, he garnered a reputation for eccentricity. In Ellis Hansen’s Decadent Catholicism, we learn the rather delicious fact that at seminary, “he was known to burn incense in his rooms and to wear purple silk socks during Lent” (qtd. by the Modern Medievalist).

This was as far as he made it in the ranks of the C of E, however. As the Oxford Dictionary of National Biography tersely puts it, “Rumours of studies in Satanism and a charge of pederasty, of which he was acquitted, terminated this phase of his career.” The latter charge may have had some truth to it. About this same time, he published a book of Uranian verse entitled Antinous and Other Poems (1907). His interest in pederastic and homosexual themes continued throughout his life. In 1940, he wrote a play about Edward II. Even more scandalously, “Despite his conservative religiosity, Summers was an active member of the British Society for the Study of Sex Psychology, to which he contributed an essay on the Marquis de Sade” (Source 1 and Source 2).

In 1907, though, Summers was out of a job. His hopes of becoming an Anglican clergyman seemed to have been quashed. But as they say, when the Lord closes one door, He opens another. We might imagine that Summers had something like this in mind when, two years later, he converted to Roman Catholicism. He also spent some time on the continent, allegedly for reasons relating to his health. Some have speculated that he might have received valid, if illicit, orders during this sojourn; others have said he spent his time exploring the black arts (vide the Modern Medievalist). We have almost nothing on which to base our speculations.

Now we see him coming to the full bloom of his later, famous eccentricity. It is in this formative period that he lays the foundation for the vivid persona that would make him such a cult literary and religious figure. I will quote the Oxford DNB at length:

On 19 July 1909 Summers was received into the Church of Rome and was granted the clerical tonsure on 28 December 1910; after this his clerical career became murky and remains so. He may have received minor orders as a deacon, but no record of his ordination has ever been found. During his lifetime, he was addressed as the Revd Montague Summers, celebrated mass in his own chapel and those of friends, adopted two names in religion, and invariably wore the dress pertaining to Roman priesthood; his appearance in soutane, buckled shoes, and shovel hat, later with an umbrella of the Sairey Gamp order, was familiar in London and Oxford. He became increasingly eccentric and was described as combining a manifest benignity with a whiff of the Widow Twankey. Some spoke of an aura of evil. It was charitably assumed by his friends that he was indeed a priest, and his devotion was never in question; his biographer Joseph Jerome (Father Broccard Sewell) records that all his life Summers wore the Carmelite scapular.

On a side-note, Fr. Brocard Sewell was a deeply strange man himself. But I digress.

If Summersor, as he was now calling himself, “Reverend Alphonsus Joseph-Mary Augustus Montague Summers”–had simply remained a slightly dubious cleric, we probably wouldn’t remember him. He might have become a little more than a footnote in the history of the Episcopi Vagantes so famous for dispensing illicit orders here and there. But he did not. Instead, he wrote. Prolifically.

Summers started off with genuine and important literary scholarship. Eventually, he even became a member of the Royal Society of Literature. He had certainly earned it with the sweat of his brow. He produced fairly good books on Restoration Drama, including major editions of previously neglected playwrights such as Aphra Behn. In this capacity, he had some connections with the world of the British stage; he was a founder of the Phoenix Theatre. He wrote an important monograph on Shakespeare.  In another work he also proved that the terrible Gothic novels that Jane Austen mentions in Northanger Abbey were all real books. Gothic literature remained a lifelong passion, in part because it dovetailed so well with his overriding obsessionthe occult.

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Montague Summers in clerical collar. (Source)

Summers is most famous today for his several books on witches, demons, vampires, ghosts, and other supernatural phenomena. He translated and edited the first English edition of the Malleus Maleficarum, that great tome of Medieval witch-hunting. He did the same with several other demonological manuals: The Demonality of Sinistrari, The Discovery of Witches by Hopkins, the Compendium Maleficarum of Guazzo, and the Demonolatry of Nicolas Remy. He wrote a text on The Physical Phenomena of Mysticism, in contrast with his somewhat headier and less decadent contemporary, Evelyn Underhill. He edited more than one collection of horror stories. He wrote three seminal texts on vampirism, one on lycanthropy, and four on various aspects of witchcraft. Following the best scholarship of the day, Summers endorsed the idea of the “Witch-Cult,” long suppressed by Christianity but operating sub rosa in Europe down the centuries (this hypothesis has long since been undermined by scholars across disciplines). He would often draw upon a huge range of historical, theological, ethnographic, and literary sources in constructing his arguments. All of his texts speak to his vast learning. It is probable that upon his death, Montague Summers knew more about the history and practice of the occult than any other Englishman then living.

The Modern Medievalist has preserved some charming anecdotes of the later, esoteric Summers over on his blog. We read, for example, the following passage from Ellis Hansen’s Decadent Catholicism:

…although Summers was a brilliant conversationalist, he had always a thick carapace of artificiality in his demeanor, a kind of mask that recalled the studied falsity of the classic dandy, not to mention the distrustful reserve of Walter Pater and John Gray. His style was decidedly aristocratic, Continental, and decadent, with the inevitable intimation of sexual impropriety. His friend writes of him, “He would often meet me with such an expression as Che! Che!, accompanied by a conspiratorial smile; or he would look closely at me and murmur, ‘Tell me strange things’.”

Or this remarkable scene drawn for us by Fr. Brocard Sewell:

Summers…could often have been seen entering or leaving the reading room of the British Museum, carrying a large black portfolio bearing on its side a white label, showing in blood-red capitals, the legend “VAMPIRES.”

Not to mention the fact that Summers went about town with a cane topped by a depiction of Leda and the Swan (vide the Modern Medievalist).

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A caricature of Summers from the Evening Standard, probably from 1925. (Source).

What distinguished Summers’ writing on these dark subjects is the absolute credulity with which he approaches his subject. Unlike his predecessor, Dom Calmet, who wrote about ghosts with ambivalence and vampires with manifest doubt, Summers did not hesitate to express his firm certainty about both (and much more). He believed in all the phenomena he wrote aboutthe whole ghastly parade of incubi and succubi, of witches dancing at the Sabbath, of vampires rising from the grave to seek the blood of the living, of werewolves stalking innocent Christians in the night. Everything that belonged to the netherworld was as real to him as the people you or I might meet in the street. His purple prose often slips into breathless passages of scholarly terror. Observe the following lines from Chapter Two of The Vampire: His Kith and Kin:

It has been said that a saint is a person who always cho[o]ses the better of the two courses open to him at every step. And so the man who is truly wicked is he who deliberately always cho[o]ses the worse of the two courses. Even when he does things which would be considered right he always does them for some bad reason. To identify oneself in this way with any given course requires intense concentration and an iron strength of will, and it is such persons who become vampires.

The vampire is believed to be one who has devoted himself during his life to the practice of Black Magic, and it is hardly to be supposed that such persons would rest undisturbed, while it is easy to believe that their malevolence had set in action forces which might prove powerful for terror and destruction even when they were in their graves. It was sometimes said, but the belief is rare, that the Vampire was the offspring of a witch and the devil.

Summers also stood apart from his thoroughly modern era in endorsing “Church-sanctioned methods of destroying” the monsters he wrote about (The Modern Medievalist).

And although his pages are littered with authoritative quotes from long-dead writers, Summers was not unaware of the dark streams that swirled about him in his own day. Richard Cavendish reports in a typically mordant passage from The Black Arts (1967) how Summers treated the claims of the twentieth century’s greatest occultist, Aleister Crowley:

Aleister Crowley could not pass over such an opportunity to scandalize his readers. ‘For the highest spiritual working one must accordingly choose that victim which contains the greatest and purest force. A male child of perfect innocence and high intelligence is the most satisfactory and suitable victim.’ Montague Summers took this seriously, as he took everything else, and quotes it with gratified horror, in spite of Crowley’s footnote in which he says that he performed this sacrifice an average of 150 times a year between 1912 and 1928! (Cavendish 238)

In spite of it all, Summers remained well-liked in certain circles. He moved among the literary elite of his own day, an eccentric among eccentrics. One of his friends, the actress Dame Sybil Thorndike, relates something of his personality:

I think that because of his profound belief in the tenets of orthodox Catholic Christianity he was able to be in a way almost frivolous in his approach to certain macabre heterodoxies. His humour, his “wicked humour” as some people called it, was most refreshing, so different from the tiresome sentimentalism of so many convinced believers.

His caricature in the Evening Standard captures something of this impish quality.

But although he was known and appreciated in his own day, he has been largely forgotten in the intervening decades. There have not been many books about Montague Summers, and he is not widely read. However, that will soon hopefully change. In recent years, Georgetown University has acquired Summers’ papers, once thought irrevocably lost. Fittingly, they have a peculiar provenance, having been “discovered languishing in an old farmhouse in Manitoba.” The story of how they got there is probably as strange as any of Summers’ own books. Georgetown’s collection has made possible a forthcoming biography by Matthew Walther that will hopefully rectify the longstanding neglect of this bizarre yet sincere writer.

But perhaps a question rises. Not every obscure author is worth reviving. Why bother with Montague Summers? A man of outdated style, of dubious subjects, and of very questionable morals to boot…what does he offer the modern reader?

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The grave of Montague Summers. (Source)

The Modern Medievalist has a few thoughts on the matter.

Montague Summers is, at best, a good fit for the Institute of Christ the King and a throwback to an age when priests were also arbiters, makers, and preservers of high culture a la Antonio Vivaldi; at worst, a “daughter of Trent” who, if he ever actually was a priest to begin with, wasted his vocation on trivialities rather than the cure of souls.

Perhaps. I am not so convinced that Summers would have fit in any age. He was a decadent, and a great deal of decadence is contrarianism. Though the comparison with ICKSP is hilarious.

I think the message of Summers’s life and work can best be summed up in his epitaph.  On the black stone hat marks his grave in Richmond Cemetery, we read a simple phrase; “Tell me strange things.” These four words that he used to say to his friends encompass his whole life, packed as it was with “strange things.” Summers matters today not because he is a towering figure of literary talent, nor because his scholarly subjects are of vital importance, nor because he is a moral exemplar of impeccable religiosity. He matters because he can remind us to embrace the mystery of life. As we read in one of those plays that Summers so loved, “There are more things in heaven and earth, Horatio,/Than are dreamt of in your philosophy.” Summers lived by those words. The more I learn about the world, the more reason I see in them. And what better day to remember this humbling, bewildering, frightful truth than on All Hallows’ Eve?