The first time I met my friend Rafal, I noticed his necktie bedecked with a subtle heraldic pattern. “I gather you’re German,” says young Cusack, summoning his Sherlockian deductive genius. “What makes you say that?” “The coat of arms on your tie: it’s Danzig.” “Actually I am Polish, and it’s Gdańsk!”
Well, so much for my deductive powers, (and Rafal is a secret wannabe-German anyhow) but the arms and flag of the Baltic city — once German, now Polish — combine the usual strong characteristics of any design: simplicity and beauty. (more…)
Much to my regret now, I never particularly learned nor pursued artistic skills, but this painting of St Patrick’s Church in Monaghan Town is one of the few fruits of art class from school days we’ve bothered preserving.
I think I was about 15 when this was done; the architecture was from a photo just to have something to stand out against the sunset. Our teacher was very good, but I was a poor student, and inattentive.
In addition to my post on Charles Street & Tully Alley, here are another two houses designed by Andrew Gould. Like the other project, they are an urban infill project, built at the back of a lot on Ashley Avenue in Charleston, and the first house shown here is the architect’s own house. (more…)
Charleston, the finest city of the American South, boasts two new alleyways designed by the architectural-urbanist partnership of George Holt and Andrew Gould. Holt began buying and restoring old Charleston houses two decades ago, and later expanded his work to building new houses in the traditional style of the town. Recently he’s combined with Andrew Gould, a specialist in the design of Orthodox churches, to craft an “urban infill project” plotting two short alleyways of modern houses built in an eclectic traditional vernacular: Charles Street and Tully Alley. (more…)
The commemoration of the 1916 rebellion takes place at Arbour Hill prison, where the earthly remains of the executed leaders of the Easter Rising were laid in a pit by the British military authorities. Some of the rebellion’s leaders who did not face the firing squad, most prominently Éamon de Valera and Countess Markievicz, founded Fianna Fáil ten years later in 1926.
Micheál Martin’s address is presented here without comment.
Every state should take time to commemorate and celebrate the people and events of their founding. This commemoration is organised by Fianna Fáil the Republican Party, but we come here as Irish men and women to fulfil our responsibilities to the great generation of 1916.
After 97 years their deeds resonate even more than ever. They saw an Ireland which should not accept limits on its future. They committed everything to the vision of a country with the right to shape its own destiny.
As we quickly approach the centenary of the Rising no one can doubt that the Irish people see the men and women of 1916 as noble and courageous. No one can question their central place in our history. (more…)
HOLYROOD IS SUCH a pleasant spot, despite the recent intrusion of an ostentatiously ugly government building designed by a Spanish architect. The other day, while visiting Edinburgh, I heeded the recommendation of the Prettiest Schoolteacher in Clackmannanshire to sample the burger at the Holyrood 9a. It was quite delicious, though not perfect, and was splendidly washed with a pint of Kozel (most un-Caledonian, I concede, but you can get Deuchars in London, you know).
Afterwards, our little party decided to have a little wander down Holyrood Road towards the Palace of Holyroodhouse, the epicentre of the Scottish monarchy.
Nestled between Calton Hill and Salisbury Crags, the Palace sits at the end of the Royal Mile that runs between it and Edinburgh Castle. With the Old Town to its west, the expanse of Holyrood Park flows off to the south and east of it. (more…)
Friends are continually sending me postcards from Rome, such that they have gradually accumulated in a pile in my room. An English friend sent me one, and then an Irish friend saw it while visiting and, doubtless moved by the spirit of one-up-manship, sent one himself, whereupon the first friend sent another, to be followed by the most recent one (which arrived today) of the Chiesa di S. Agostino in the Campo Marzio. A miniature St Peter’s Basilica was recently added to the mix as well.
In the south transept of the Brompton Oratory is the altar dedicated to the Blessed Virgin, perhaps the finest altar in the entire church. It is a favourite place for getting in a few prayers and offering a candle or two or three or four. At the end of Solemn Vespers & Benediction on Sunday afternoon (above) it is where the Prayer for England is said and the Marian antiphon sung.
The Lady Altar was designed and built in 1693 by Francesco Corbarelli of Florence and his sons Domenico and Antonio and for nearly two centuries stood in the Chapel of the Rosary in the Church of St Dominic in Brescia. That church was demolished in 1883, and the London Congregation of the Oratory purchased the altar two years beforehand for £1,550.
The statue of Our Lady of Victories holding the Holy Child had previously stood in the old Oratory church in King William Street, and the central space of the reredos was slightly modified to house it. The Old and New Worlds are represented in the flanking statues, which are of St Pius V and St Rose of Lima — both by the Venetian late-baroque sculptor Orazio Marinali. The statues of St Dominic and St Catherine of Siena which now rest in niches facing the altar were previously united to it, and are by the Tyrolean Thomas Ruer.
My written views of the city you will have to wait for (presuming they ever see the light of day), but here are a few photographic impressions from my jaunt to the Kaiserliche Hauptstadt. (more…)
Culinary skills are not prominent among my varied talents, though I was pleased that the guests at the last dinner party I held in my riparian West London abode received the evening rather well. (If the food was only so-so at least the thought behind the choice and mixture of guests was appreciated). In my limited (but slowly expanding) experience, I have found haggis a rather useful addition to the repertoire.
T’other day I cooked a haggis for supper, alongside some chips and peas — an unjustly neglected vegetable I can’t help but feel. (Boring old botanists insist the pea is actually a fruit, but never you mind). Unfortunately I lacked a suitable gravy or sauce, so had to make do with ketchup and mayonnaise (plus a dash of HP).
But what to do with the leftover haggis the next day? I tried spreading it on oatcakes but that was far too dry — oatcakes must be reserved for pâté, it seems. So instead I crumbled bits of haggis into a pot of tomato sauce, dobbed it with oregano, some mixed herbs, sea salt, and freshly crushed peppercorns, and enjoyed a surprisingly delicious meal which I’ve decided must be christened linguine alla scozzese.
THIS YEAR MARKED the tenth anniversary of the Driehaus Prize, the annual award honouring a living architect who has contributed to the field of traditional and classical architecture. To commemorate the first decade of the Prize, the architectural painter Carl Laubin was commissioned to produce a splendid capriccio depicting the works of the first ten Driehaus laureates.
As Witold Rybczynski, a member of the Driehaus panel of jurors, writes:
In the foreground is the Choragic Monument of Lysicrates, a bronze miniature of which is presented to each laureate. It’s fun to try and identify the individual works in this large (5½ by over 8 feet long) painting. But what is more striking is that Laubin has created a convincing urban landscape solely out of landmark buildings.
That, of course, is the advantage of classicism: however it is interpreted, it is a tradition that manages to produce a more or less coherent whole. Even Abdel-Wahed El Wakil’s mosque, standing next to a Seaside beach house by Robert A. M. Stern, doesn’t look too out of place.
The Driehaus Prize was founded in part as a rival to the more publicised Pritzker Prize awarded to modernist architects. But, Mr Rybczynski points out, the fundamental nature of modernist structures is that they thrive only as a visual contrast to buildings constructed in a traditional style.
Can one imagine a similar townscape of Pritzker Prize winners? Well, maybe with the work of some of the early laureates—Pei, Bunshaft, Tange, Siza—but modern buildings need a background of nineteenth and early twentieth century urbanism to shine. A town made up of only signature buildings by our current generation of stars would resemble a carnival or a theme park—Pritzkerland.
I’ve often thought this of the United Nations headquarters in New York, which, when it was first built, must have stood out brilliantly as a bright and fresh harbinger of a better future, but which has been rendered altogether rather boring by the construction of neighbouring buildings of third-rate plate-glass modernist designs.
The UN headquarters on the East River and Lever House on Park Avenue were breakthrough buildings, but the increasing replacement of their traditional stone-clad or brick neighbours by cheap, tawdry modernist structures has exposed how reliant this type of architecture — even when well-conceived and properly executed — is on being surrounded by a contrasting style. (more…)
In the course of reading any South African newspaper article about universities, the unacquainted reader may be confused by some of the terminology involved. “Maties Slaughter Ikeys” is a common enough headline prototype — given that, I think, the last time the Ikeys (University of Cape Town) beat Maties (Stellenbosch) in rugby, a white man was president.
What are these mystical nicknames for South Africa’s universities, clouded in mystery to the outsider? Here is a handy guide. (more…)
The Church of St Nicholas of Tolentine dominates the busy intersection of University Avenue and West Fordham Road in the Bronx. The parish was erected by the archdiocese in 1906 and has been served by Augustinians ever since then. The present church is a modern gothic creation from 1927, and probably one of the most handsome Catholic churches in the borough — it is often nicknamed “the cathedral of the Bronx”. (Though that style is sometimes also ascribed to St Jerome’s in Mott Haven).
The church is of suitably grand proportions, but the effect is somewhat diminished by the unfortunate use of bulky wooden pews. They are ill-suited to such a large church, and detract from the spaciousness of the interior. This is unfortunately a very frequent problem in the United States, where clumsy pews crowd even great cathedral churches like St Patrick’s in Manhattan or the glorious Cathedral Basilica in St Louis. Regardless, St Nicholas of Tolentine is a splendid ornament in this borough of many churches. (more…)
Old hat already, but following the announcement of Benedict XVI’s abdication, the Los Angeles Times solicited opinions from eleven American Catholics — among them your humble & obedient scribe — what they would like to see in the new pope.
Some architectural projects are just so completely mental and insane that you actually have to doff your cap to the creativity of their inventors. Scipione Perosini’s ‘Projet d’un palais impérial à Rome’ is one such plan.
In the 1800s, with Napoleon the master of Europe, prominent citizens of various Italian cities submitted plans for the architectural aggrandisement of their communities under the beneficent patronage of the revolutionary monarch. In Rome, the architect and hydraulic engineer Scipione Perosini drafted his project for a imperial Napoleonic megapalace.
Atop the Capitoline, Michaelangelo’s Piazza del Campidolgio would be destroyed except for the Palazzo dei Senatori, which would be the central focus of a massive neo-classical palace encompassing the entire Capitoline Hill. From the Hill, a series of terraces would cascade down to the Roman Forum, which would be demolished and paved over to form a new ‘Foro di Napoleone’ celebrating the emperor. Across the Forum, on the Palatine, a new imperial residence circled by gardens would house Napoleon, who proclaimed himself King of Italy, during his prospective stays in the second capital of his empire. (more…)
THE IRISH, of course, have a long history of interaction with Mitteleuropa, and with Vienna in particular, from the earliest days. After all, one of Vienna’s most prominent churchs is the Schottenstift which was founded in 1155 when Henry II invited monks from the Irish monastery at Regensburg to start an abbey in the capital of his margraviate (Austria was elevated to a duchy the following year, I think).
The Schottenstift and Schottenkirche are often known as the “Scottish Abbey”. This confusion results from the fact that Ireland was formerly known as Scotia in Latin. It was some time before Ireland became known as Hibernia and Scotland as Caledonia. (Scotland literally means “land of the Irish”).
In anticipation of a party in Oriel recently, I enjoyed a pint with some friends by the fire in the King’s Arms and was given a copy of this book, mysteriously shrouded in a plastic bag. Jack Carlson’s Humorous Guide to Heraldry is a welcome addition to the Cusackian library. The author, who wrote the book when he was fourteen, is now an Oxford archaeologist (and rower) but his interests span a broad spectrum. (He is currently researching for a work on rowing blazers, a subject unjustly neglected by academics).
Aficionados of the light-hearted-guide-to-heraldry genre will notice one or two gentle riffs off of Sir Iain Moncrieffe of that Ilk’s Simple Heraldry Cheerfully Illustrated, and, since that book is long out of print, evangelists of heraldry will find A Humorous Guide to Heraldry a useful tool for introducing the uninitiated to the appreciable realms of this field. Godfathers will not want their spiritual charges to grow into adults without being able to distinguish the mêlée from the affronté and every life-long student of the world should be able to recognise a cinquefoil or a pheon.
In short: a worthy purchase for the heraldically inclined.
Jack Carlson’s A Humorous Guide to Heraldry is available here.
… But there is another form of poverty! It is the spiritual poverty of our time, which afflicts the so-called richer countries particularly seriously. It is what my much-loved predecessor, Benedict XVI, called the “dictatorship of relativism”, which makes everyone his own criterion and endangers the coexistence of peoples. And that brings me to a second reason for my name. Francis of Assisi tells us we should work to build peace. But there is no true peace without truth! There cannot be true peace if everyone is his own criterion, if everyone can always claim exclusively his own rights, without at the same time caring for the good of others, of everyone, on the basis of the nature that unites every human being on this earth.
“For those tempted to draw an overly sharp distinction between Pope Francis and his predecessor,” John Allen reports, “the new pope offered a clear reminder Friday that he may have a different style than Benedict XVI, but on substance, he’s cut from much the same cloth.”
“In a speech to the diplomatic corps accredited to the Holy See on Friday, Francis lamented not only the material poverty of the early 21st century but also its ‘spiritual poverty,’ meaning a rejection of God and objective standards of morality.”
Also, I found it interesting that the Holy Father noted that his background in an Argentine family of Italian origin impelled him in his role as bridge-builder. Naturally, as someone from an Estadounidense family of Irish origin, I feel a certain parallel kinship to this first American pope.
[Note: The boldface below is mine.] (more…)
The Vatican released information about Pope Francis’s coat of arms on Monday but the image they provided of it was very poorly drafted. Many of us were waiting for the Italian heraldic artist Marco Foppoli to craft his own rendering of our new pope’s arms, and he has duly released it today (see above).
The central motif is the emblem of the Society of Jesus — the Christogram with nails on a sunburst. The star represents the Blessed Virgin while the sprig of nard-flower represents Saint Joseph, the patron of the universal church. Thus the three emblems on Pope Francis’s arms together represent the Holy Family.
Shortly before his abdication, Pope Emeritus Benedict XVI delivered an address to the clergy of the diocese of Rome. He reflected on his experiences as an expert at the Second Vatican Council in the 1960s, and on that Council’s effects on the life of the Church. He spoke mysteriously of a contrast between the Council of the Fathers, meaning the proceedings that actually took place around the Pope in the Vatican, and what he called, a ‘virtual Council’, or a ‘Council of the media’. According to Pope Benedict, the real Council was firmly rooted in Catholic doctrine and aimed at renewing the Faith, while the ‘virtual Council’ as presented to the world through the media had a completely different, political, objective. Pope Benedict explained: “this Council [the ‘virtual’ one] created many calamities, so many problems, so much misery, in reality. Seminaries closed, convents closed, the liturgy was trivialised.” Pope Benedict even lamented that this ‘virtual Council’ was stronger than the official Council itself.
Whether or not we agree with this interpretation of the hermeneutics of the Second Vatican Council, we must acknowledge that the media in the world today exerts a formidable power over the information that ultimately determines how we think and live. (more…)