Given the urgent situation, please see the following from the Fathers of the London (Brompton) Oratory:

The Oratory Church of the Immaculate Heart of Mary,
Brompton Road, London

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.

The Provost of the Brompton Oratory, Fr Julian Large, warns Catholics not to let their attitude to the Pope be determined by the media

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…)

Since we explored Brompton Oratory as it might have been, here is the Oratory as it was built. The façade were finally completed in 1893 to a design by George Sherrin, with the dome following in 1894-95 by Sherrin’s assistant E. A. Rickards. How is the Oratory as depicted above different from the Oratory today? The fence and gates were replaced with a curved design at some date unknown to me, perhaps in response to a road-widening scheme.

Failed Entries of the 1878 London Oratory Architectural Competition

ARCHITECTURAL COMPETITIONS have always fascinated me because they give us the opportunity to glance at multiple executions for a single concept, to see different minds solve a “problem” with their own particular formulas and theorems. The designs of many of the world’s prominent buildings were chosen by competition, perhaps the Palace of Westminster — Britain’s Houses of Parliament — is most famous among them. When the Hungarian Parliament held a competition to design a grand palace to house the body, it found the top three prize designs so compelling that it built the first-prize design as parliament and the second and third places as government ministries nearby. To my surprise, I have only ever come across one book which adequately surveyed the subject of competitive architecture, Hilde de Haan’s Architects in Competition: International Architectural Competitions of the Last 200 Years. Most of the contests covered in the book are, naturally, for government buildings of national importance — private clients usually have a very firm idea of what they want and choose an architect accordingly.

One building not mentioned in the book but nonetheless very dear to me (and no doubt to many readers of this little corner of the web) is the Church of the Immaculate Heart of Mary of the Congregation of the London Oratory, more popularly known to friend and foe alike as the Brompton Oratory. It was the first church in Britain in which I ever heard mass, the summer after kindergarten when I was still but a tiny, blond-haired whippersnapper, in the midst of my first visit ever to the Old World, and the Oratory made quite a strong impression upon my young mind. It is usually one of my very first ports of call whenever I am in the capital, and I once even managed to slip in having just arrived at Heathrow while making my way to King’s Cross and the train to Scotland.

The Brompton Oratory is known for having good priests, traditional liturgy, and beautiful architecture. The final design was by one Herbert Gribble, but there was quite a bit of to-ing and fro-ing before Gribble was selected. The temporary church which had been erected on the site had been condemned by one critic as “almost contemptible” in its exterior design. In 1874, the Congregation of the Oratory (which is to say, the priests) put out an appeal for funds towards the construction of a permanent church. The 15th Duke of Norfolk obliged with £20,000 to get the ball rolling, and the next year a design by F. W. Moody and James Fergusson was agreed upon in principle. But the Reverend Fathers soon began to get creative and hatch ideas and contact other architects and very soon it was claimed that there were as many counter-proposals as there were priests of the Oratory, and perhaps more. A pack of clerics supported a suggested design by Herbert Gribble, but no accord could be reached among the Congregation as a whole.

In January 1878, then, it was announced that a competition would take place to decide the design of the permanent church of the London Oratorians. First prize was £200, with £75 for the runner-up. All entries had to meet the certain requirements drawn up by the Congregation. The style was to be “that of the Italian Renaissance”. The sanctuary, at least sixty feet deep, must be “the most important part of the Church. … Especially the altar and tabernacle should stand out as visibly the great object of the whole Church.” The minimum width of the nave was fifty feet, and maximum length 175 feet. Subsidiary chapels must be “distinct chambers”, not merely side altars. One aspect not mentioned was the projected execution costs of the designs — “an omission criticized by architectural journalists and disgruntled competitors,” the London Survey tells us, “whose designs called for expenditure ranging from £35,000 to £200,000”.

Over thirty entries were submitted to the competition, and Alfred Waterhouse was commissioned by the Fathers to provide comment on the submissions. Significantly, George Gilbert Scott, Jr. submitted a design, though I haven’t been able to get my hands on any depictions of it. Waterhouse praised it as “of no ordinary merit. … I feel that it is impossible to speak too highly of its beauty, its quiet dignity, its absence of all vulgarity and its concentration of effect around the high altar.” (more…)

I have been spending the past few days in a flat at the corner of Holland Park Avenue and Portland Road, in this verdant corner of the capital. The flat is clean, capacious, and handsome, but terribly modern. Indeed, it is so modern that it will soon be old; it will not exhibit the old age of the time-honoured and true, but rather the tawdry oldness of what had only recently been new. Pedantic students of interior design will study photos of it and discern “2008 I’d say… no! 2009!” But for now, it is still new, still fresh, and so, like a tomato fresh for the plucking, we will enjoy it while its moment is precisely appropriate.

Until now, I hadn’t much knowledge of this part of London, but find it a happy place to be in August. The weather has been mild and kind, and I spent part of the afternoon reading de Maistre — the St. Petersburg Dialogues — in the formal garden in Holland Park. The avenue itself is tree-lined, or rather tree-engulfed, such is the plentiful shade, and has a small selection of cafés: the Paul boulangerie which is becoming omnipresent, and the Valerie patisserie, both chains. Cyrano, at No. 108 Holland Park Avenue, is much preferred, and I decamped there for a light breakfast with a copy of the Scotsman from the local newsstand (the one on Ladbroke Grove, rather than the smaller one by the tube stop) while avoiding the miserable Irish cleaning lady who returns the modern flat to its pristine whiteness every Thursday morning.

Then to the Royal Academy, for the Waterhouse show. What an interesting artist! His earlier works so precise in detail and, for lack of a better word, academic. Yet in his later pieces, you can find a certain willingness to obfuscate, perhaps an admission that reality is not quite so precise and that the most accurate portrayal of reality requires a few lines to be blurred. Faces, and indeed all forms, remain clear throughout, but the architectural coldness of the earlier works on display gradually evolves to a more fluid depiction of Greek mythos and Keatsian tales. Waterhouse can vary in his details from the almost photographic to verging on impressionism in a single painting. Was that his intention? It was certainly the result.

My viewing companion — an old university friend — and I agreed that throughout all the themes portrayed by the artist one can’t help but feel an overwhelming Victorian-ness. Is this ex post facto because we know Waterhouse to be an High Victorian artist, or is there actually some inherent quality in the works that calls to mind that era? Very difficult to say, but those in London should not miss this exhibition of a popular yet under-appreciated artist — the Jack Vettriano of his day.

Who is in London in August anyhow? The text messages sent out, and their replies promptly received. “I’m in Geneva! Will be in Luxembourg next week if you’re on the continent.” I am not and will not be on the continent. “I have been unexpectedly called to Africa.” Well I’ve just come from there, though not the Sudan thank God. “You’re welcome to come to Gozo between the 5th and 15th for a pleasant, quiet holiday.” I will have returned to New York by then, alas. “Am up north in Lancashire; you’re welcome to come and visit, sample our recusant history!” Just haven’t got the time, alas.

But while many have escaped for the month, many yet remain. An afternoon drink at Rafe’s, with Fr. Rupert and Alex Williams. The Carlton is being refitted, so it was drinks at the East India Club instead with another university friend, during which we concur that office jobs are the absolute pits and we should have studied agriculture with the country girls at Cirencester rather than getting tawdry MAs in Scotland. There is no greater affirmation of the consequences of original sin than the omnipresence of the 9-to-5 office job.

Astute observers of this little corner of the web (if indeed we can use the plural for such a subset of the earth’s population) will recall an incident over two years ago now in which a certain Jack Russell terrier became rather more involved with my lower leg than I had envisioned was ideal. The dog, which goes by the name of Cicio Stinkiman, had noticed me playing with the only seeing-eye-dog in Scotland that knows how to genuflect and resented the attention I was paying to the bitch, to whom he obviously professed some attachment, ran up, and bit me in the calf.

You can imagine my surprise when I learnt that the beast in question is actually now not only living in London but actually residing in the Oratory. Indeed I saw the beast from a distance while waiting on Brompton Road for the Friday evening mass last week. His owner graduated from university (in Scotland, like all the wisest people) two years ago now but his mother banned poor Cicio Stinkiman from the German palace he might otherwise call home, perhaps informed along the voluptuous grapevines of Europe of the horrendous incident in which the beast had taken an unwelcome interest in my lower leg.

I am being far too unfair to poor Cicio, for he did apologise, and looked up at me with terribly apologetic eyes. Admittedly, that might’ve been because his master stood nearby holding a rolled-up copy of the Catholic Herald most threateningly. Still, pity the poor ignorant beasts. They have no conscience, and thus no real malice. Only we humans, with the freedom we abuse so easily, can claim that dubious achievement.

His Eminence Keith Patrick O’Brien, Cardinal Archbishop of St Andrews & Edinburgh, at the Brompton Oratory for the Feast of St. John the Baptist this year.

(From the NLM)

Sometimes something rather interesting is right under your nose and you never even notice it. I read the Catholic Herald — the premier Catholic newspaper in the English-speaking world — every week and have been reading it since university days, but I have rarely read Stuart Reid’s “Charterhouse” column on the back page. A few recent perusals have exposed my foolishness for neglecting it. They are presented for your reading here.

(Of course, there has never been a columnist as brilliant as Peter Simple, whose works we have shown you in a series of installments.)

Charterhouse
by STUART REID

Everyone needs a secular hero or two, and one of mine is Rian Malan. In the Sunday Times at the weekend he had a very nice diary, in which he said that he liked Jacob Zuma, because the president-elect of South Africa had “old-fashioned views on stuff like law and order”.

Malan also said that it was a good time to be a Boer: “…as South Africa staggers towards its destiny, it’s white Left-liberals who are wailing about our government’s shortcomings. The Boers never expected any better, so we are generally immune to the gloom.”

The diary made my heart go out, once again, to the Boers. They are brave, honest, hard-working, courteous, old-fashioned and often God-fearing, with a weakness for the bottle. Plus they were on the right side in the Boer War and their women – sometimes their men too – are beautiful.

(more…)

THE BLESSED VIRGIN HAS quite the legion of followers at her beck and call, and a good many battalions (perhaps even a regiment?) turned up on October 14 for the annual Rosary Crusade for the reparation of sins. The event began with a procession from Westminster Cathedral near Victoria Station, through the streets of London, to Brompton Oratory in Kensington. A statue of Our Lady was borne aloft by members of the Catholic Police Guild the whole way to the Oratory, where Benediction was held. We bring you these photos, taken by, amongst others, Matt Doyle, and Ken Simpson, all of which we found via ‘Joee Blogs‘, a Catholic medical student in London.

Instagram: @andcusack

Most Recent Posts

• Burns Tower April 19, 2024
• Patrick in Parliament March 18, 2024
• Articles of Note: 13 March 2024 March 13, 2024
• Cambridge March 9, 2024
• Taken on Trust March 4, 2024

Most Recent Comments

• Una Kinneen on No. 82, Eaton Square
• Andrew Cusack on Cambridge
• Gousset van Heel on Articles of Note: 13 March 2024
• LG Clark on Cambridge
• LG Clark on Taken on Trust
• Stephen Klimczuk-Massion on Articles of Note: 13 March 2024
• A Stiubhard of Torphichen and Our Creator on The Sovereign Scotch Order of Whisky
• Fitz on Cambridge
• Paul Thomas on A Cape Dutch Garden at Chelsea
• Louis on Taken on Trust

Book Wishlist

Monthly Archives

Categories