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Mind-blowing golden images from Louis de Laval’s Book of Hours

Sunday, June 30th, 2019

[ by Charles Cameron — whatever you may think of religion, the artwork in these images is stunning ]
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There’s this phrase in the Apostles Creed, the shortest and most basic of the three creeds which mainstream Christians accept: the communion of saints. The hymn known as the Te Deum is more explicit, while describing basically the same companionship:

The glorious company of the Apostles : praise thee.
The goodly fellowship of the Prophets : praise thee.
The noble army of Martyrs : praise thee.
The holy Church throughout all the world : doth acknowledge thee;

But this image of that company, from Louis de Laval‘s illuminated Book of Hours, ca 1480, is the first I’ve seen that suggests the membership of this communion is innumerable —

— wave on wave, saint upon saint, halo on halo into the distance — until they constitute a veritable sea of gold.

Nor that the company includes many females, also innumerable–

— some of whom must have caused a ferment in their own day, or at least in the creative imagination of a court artist, likely Jean Colombe, in the 1480s..

Nor had I seen until now that there were vacancies for saints as yet unknown, perhaps unborn, their halos vacant —

— unless perchance these are saints so deeply meditative that they have lost all face, as the Zennists might say, save the original face alone..

Glorious.

Alchemies of church & bookstore, French Open court & gardens

Wednesday, June 5th, 2019

[ by Charles Cameron — two instances of somewhat unexpected balance ]
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Here, first, something you’ve already seen — the Maastricht bookstore in a restored church, arguably an instance of word being made flesh:

and the gardens now surrounding the clay court on which the French Open is played:

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Sources:

  • Marcus Fairs, A shop in a church by Merkx + Girod Architecten
  • Gerald Marzorati, How the French Turned a Tennis Court Into a Garden
  • **

    I say alchemy because marriages of hard and soft, above and below, word and flesh, have it in common that they bridge significant metaphysical divides — like the fall of the Berlin wall, to take a political equivalent within living memory — and thus perform a healing work.

    Tikkun olam.

    The Mercy, logic, the model digitized, the glass, the music survives

    Sunday, April 21st, 2019

    [ by Charles Cameron — logic, the arts, and technology offer an Easter, resurrection corrective, philosophically speaking, to the ruin of the cathedral of Notre Dame ]
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    For the terrible fire that consumed so much of Notre Dame de Paris this week, grief is great. Here, I wish to recall some of the ways in which the essence of the great cathedral has been saved.

    Above, Piero della Francesca‘s Madonna della Misericordia. Our Lady of Mercy, for whom the cathedral was named, continues to shelter us all..

    **

    Perhaps the most extraordinary, as well as the most abstract, form of Notre Dame to survive fire, war, and the French Revolutionary idea — to replace Mary with the goddess Reason enthroned in her place — is the logic embedded in the theology that accompanied its building and — lex orandi, lex credendi — the worship within it, for which purpose it was designed and built

    The American philosopher CS Peirce was among the first to propose a kinship between Gothic architecture and the logic of the Paris schoolmen:

    Art felt the spirit of a new age, and there could hardly be a greater change than from the highly ornate round-arched architecture of the twelfth century to the comparatively simple Gothic of the thirteenth. Indeed, if any one wishes to know what a scholastic commentary is like, and what the tone of thought in it is, he has only to contemplate a Gothic cathedral. The first quality of either is a religious devotion, truly heroic. One feels that the men who did these works did really believe in religion as we believe in nothing. We cannot easily understand how Thomas Aquinas can speculate so much on the nature of angels, and whether ten thousand of them could dance on a needle’s point. But it was simply because he held them for real. If they are real, why are they not more interesting than the bewildering varieties of insects which naturalists study; or why should the orbits of double stars attract more attention than spiritual intelligences?

    Erwin Panofsky‘s work, Gothic Architecture and Scholasticism, is the central presentation of the parallels. Pierre Bourdieu, who translated Panofsky into French, characterizes the work:

    The parallelism between the development of Gothic art and the development of scholastic thought in the period between about 1130–1140 and about 1270 cannot be brought out unless one “brackets off phenomenal appearances” and seeks the hidden analogies between the principles of logical organization of Scholasticism and the principles of construction of Gothic architecture. This methodological choice is dictated by the intention of establishing more than a vague “parallelism” or discontinuous, fragmentary “influences”. Renouncing the semblances of proof which satisfy intuitionists or the reassuring but reductive circumstantial proofs which delight positivists, Panofsky is led to identify the historical convergence which provides the object of his research with a hidden principle, a habitus or “habit-forming force”.

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    Rachel Donadio, Witnessing the Fall of Notre-Dame for the Atlantic, depicts the ruin of the cathedral with incredulityn–

    How could Notre-Dame be burning? How could Notre-Dame, which had survived for eight centuries—survived plague and wars of religion, survived the French Revolution, survived the Nazis—be falling? Notre-Dame, the heart of Paris, not only a Catholic site but the preeminent symbol of European cultural consciousness, the heart of France, the kilometer zero from which all its farthest villages are measured—how could this majestic structure collapse so fast

    — Oh, ruin, from the Latin ruere, meaning to fall.. John Milton, Paradise Lost:

                                                              Hell saw
    Heaven ruining from Heaven, and would have fled
    Affrighted

    Viollet-le-Duc‘s 19th century spire, in this archaic sense of the word, ruined.

    Resurrection:

    The competition is already afoot to rebuild it.

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    Fortunately, a few years back the entire structure was mapped with ferocious accuracy by Vassar professor Andrew Tallon, using advanced laser photography to capture detail — wear and tear included, to an accuracy of a tenth of an inch:

    Vassar College/AFP Photo / Andrew TALLON

    Alexis Madrigal, in the Atlantic:

    Now, with the building having sustained untold but very substantial damage, the data that Tallon and Blaer created could be an invaluable aid to whoever is charged with rebuilding the structure. Ochsendorf described the data as “essential for capturing [the structure] as built geometry.” (He added, however, that the cathedral, no matter what happens now, “is irreplaceable, of course.”)

    Tallon and Blaer’s laser data consist of 1 billion data points, structured as “point clouds,” which software can render into images of the three-dimensional space. Stitch them together, inside and out, map the photographs onto the precise 3-D models, and you have a full digital re-creation of incredible detail and resolution.

    Professor Tallon died less than six months ago, in November 2018, age 49. If you’re looking for another Easter parallel, Tallon may be metaphysically resurrected with the promised rebuilding of the cathedral he so loved and diligently studied.

    **

    It appears that the great Rosace Nord (north rose window) survived the fire —

    As Incunabula commented:

    By far the greatest blessing – a miracle – is that the Rosace Nord has survived. The South and West windows were very extensively restored in the 18th and 19th century, but the North Rose Window has stood basically unchanged for 800 years, the glass is the 13th century original.

    **

    To close with a blaze..

    In January of this year, Olivier Latry, titular organist of Notre Dame, made what is very likely the final recordings of music on the cathedral’s great organ, for a recording which was released in March, just weeks before the terrible fire. The organ, as built by Aristide Cavaillé-Coll in the nineteenth century, houses some 8,000 pipes; it seems the fire has left it largely intact, though with damage to its electrical systems and wind-chest.

    Olivier Latry plays Johann Sebastian Bach‘s Toccata and Fugue in D minor, BWV 565 on the Cavaillé-Coll organ of Notre-Dame de Paris::

    Fanning the flames

    Wednesday, April 17th, 2019

    [ by Charles Cameron — winds blowing east from Notre Dame ground zero fans the brush-fires of fear, prejudice and concpiracy — this, and a poetic and sacred alternative ]
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    It’s often said, and has no doubt been said many times since the horrific fire at Notre Dame began, that fire rages. By the same token, rage inflames. It is rage, and not truth, that brings us these horrific Twitter posts, which I can bring here courtesy of Buzzfeed:

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    A great beauty DoubleQuoted:

    The Loss of Notre Dame is horrific enough without pouring hatred onto the flames.

    **

    May I refer you to Thomas Merton‘s great poem of sacred, sacrificial fire, Elegy for the Monastery Barn, and to these brief but potent lines from TS Eliot‘s Four Quartets?

    The dove descending breaks the air
    With flame of incandescent terror
    Of which the tongues declare
    The one discharge from sin and error.
    The only hope, or else despair
    Lies in the choice of pyre or pyre—
    To be redeemed from fire by fire.

    Who then devised the torment? Love.
    Love is the unfamiliar Name
    Behind the hands that wove
    The intolerable shirt of flame
    Which human power cannot remove.
    We only live, only suspire
    Consumed by either fire or fire.

    Sanctity of the unsavory 2

    Wednesday, January 9th, 2019

    [ by Charles Cameron — art meets theft, the theft of art meets the art of theft ]
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    That Modigliani, Woman with a Fan (Lunia Czechowska) — detail:

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    Foreground:

    Today I was reading The French Burglar Who Pulled Off His Generation’s Biggest Art Heist. The burglar is named Vjeran Tomic, and known to le tout Paris as Spider Man.. It’s a fascinating piece, and inter alia illustrates once again the loose array of phenomena I’ve been noting under the rubric of unsavory sanctities..

    At the =age of sixteen, magic hit Tomic:

    Tomic was enraptured by Renoir’s glowing renderings of happy childhoods: kids playing with figurines, practicing the piano, snuggling with mothers. As Tomic saw it, Renoir had used his paintbrush to create a “parallel universe”—an enchanted version of the grim Parisian life he had known. “Renoir has a way of seeing life from a magical realm,” Tomic wrote to me. “It’s as if he even came from this place.”

    Add a youthful, “devious” tendency to scaling walls, running roofs and theft, and you have the makings of a spectacular, special thief:

    One night, he had a vivid dream in which he stole five paintings from a museum. He took it as a portent. As he wrote to me, “I knew that someday I would do something great.”

    Even those he robbed could admire him:

    I’ve always had respect for his style — an admiration for his temerity — and a sort of intimate affection for him … It was very much a Gentleman Burglar situation, Arsène Lupin style.” (Lupin, the quintessential debonair thief, was invented by the French novelist Maurice Leblanc, in 1905.)

    And his friends:

    A friend of Tomic’s described him as “brutal and a little wild.” At the same time, she said, he had a charming range of passions: “He is into aesthetics, classical music, nature, animals, epicurean pleasures—wine, cheese. He is very out there in his style, even his clothing.” (Tomic favors G-Star pants, New Balance sneakers, cashmere ski hats, and Lacoste underwear.) She said that Tomic was “like a poet,” noting that “he talks about the moon.”

    It’s that last quote, of course, that perks me up, “poet” as applied to a master of theft strikes me as analogous to “saint” — and “he talks about the moon.” clinches the deal. More prosaically, “The Impressionist art feeds the poetry that is in him.”

    By way of confirmation:

    A friend of his compared him to a “shaman,” and added, “A work of art emits a vibration, a palpable energy, and Vjeran is able to connect to it.” When I asked Tomic about this assessment, he agreed, observing, “I love to touch antique objects, and I sense a great past—of generations and generations—that I think are a part of the works.”

    A court-appointed psychologist came to a similar conclusion, noting that Tomic had described himself as a “visionary.”

    **

    Read the rest yourself, and you’ll discover, if you’d never known, or like myself you’d forgotten, this intriguing and peripherally related fact:

    In 1911, a relatively uncelebrated painting by Leonardo da Vinci, the “Mona Lisa,” was stolen from the Louvre. It took twenty-eight hours before anyone even noticed that it was gone. The painting was missing for two years and, during that time, a great many people went looking for it, and the media attention helped turn the “Mona Lisa” into the most famous painting in the world.

    And much more — including the present uncertain fate of that Modigliani.

    Here.

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    Background:

    We’d established (in Sermo I: Sanctity of the unsavory) that popular disposition extends the realm of sanctity to encompass some less than savory personalities:

  • Anthony Bourdain, for his charming habits with disgusting foods, televised..
  • Jesus Malverde and other folk saints in the Mexican tradition, including Santa Muerte
  • Master P, by implication in Heaven for a Gangsta?
  • I want to add, from British tradition:

  • Robin Hood, who is effectively a folk-saint who robs from the rich tom give to the poor
  • **

    Now let’s add art theft by colorful second story men to our categories and examples.


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