Why Constantinople’s Fall Was Not Inevitable

 

From The Greek Reporter:

Historian Anthony Kaldellis, Professor of Classics at the University of Chicago, challenges the long-held idea that the Fall of Constantinople in 1453 was inevitable, arguing that the siege should be understood through the specific military and tactical factors that shaped its outcome.

Speaking to Greek Reporter about his new book, 1453: The Conquest and Tragedy of Constantinople, Kaldellis explains that historians cannot prove that an event was inevitable because they have only one historical timeline to go by. “In a sense, nothing in history is inevitable,” Kaldellis tells Greek Reporter. “We can’t go back and run experiments to see if we change certain variables what would happen.”

His argument is directed against the idea that Constantinople’s fall was inevitable, a view he noted appears across scholarship, novels, journalism, and online commentary. Rather than reading 1453 backward from its outcome, Kaldellis argues that the event should be examined through the variables that determined the result “one way or another.” (Read more.)

More HERE, HERE, and HERE.

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Another Obama Judge

 From Tierney's Real News:

I don’t know about you but I’m exhausted by all the corruption, obstruction and deceit from Obama judges and prosecutors. For years, Trump supporters have watched the same script play out over and over again: President Trump tries to fix something, drain some swamp creatures or deliver results for the American people—and the permanent Washington machine responds with lawsuits, activist judges, and the familiar cast of Obama-driven operatives.

The latest act played out at the John F. Kennedy Center for the Performing Arts. A federal judge blocked urgent renovations to a crumbling national landmark and ordered Trump’s name stripped from the building. This wasn’t neutral justice. It was judicial power-grab meets lawfare, engineered by the same Obama-tied networks that have spent a decade trying to stop Trump.

On May 29, 2026—conveniently on JFK’s birthday—U.S. District Judge Christopher Cooper, an Obama appointee, issued a sweeping 94-page ruling. He blocked the board’s plan for a full two-year closure needed for $257 million in critical structural repairs funded by Congress in the Big Beautiful Bill and declared that only Congress could alter the Kennedy Center’s name. (Read more.)

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Why Christians Shouldn't Fear Abstraction

 From Hilary White at The Sacred Images Project:

You’ve seen these a thousand times, in a thousand iterations of nonsense. And you’ve spent your life, if you’ve bothered to pay attention, being gaslighted by our Elites and Betters into believing that if you see nonsense, it’s your fault. You’ve been told, explicitly or implicitly, that these and others in this vein represent the highest achievements of modern artistic culture. And that if you don’t respond to them, if you don’t feel something profound in front of them, the problem is you.

And I’m here to tell you that you’re right; it’s bollocks. I completely affirm you in this: the Emperor is, in fact, stark nekkid.

A great deal of what is called abstract art in the modern art world is nothing more than transgressive and subversive deconstruction. It isn’t trying to help you see any true thing clearly, or help you know something true. In fact it is an attempt to break reality, to reduce truths to meaningless components, taking things like colour, form, line etc. and treating them as ends of their own, without the connecting thread of meaning or purpose. (Read more.)

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Henrietta Maria: Number One Lawbreaker

Henrietta Maria holding a butterfly

 My guest post at an amazing site called Novels Alive.

In the lone tent, waiting for victory,
She stands with eyes marred by the mists of pain,
Like some wan lily overdrenched with rain:
The clamorous clang of arms, the ensanguined sky,
War’s ruin, and the wreck of chivalry
To her proud soul no common fear can bring:
Bravely she tarrieth for her Lord the King,
Her soul a-flame with passionate ecstasy.
~from “Henrietta Maria” by Oscar Wilde

Henriette-Marie of France, or “Henrietta Maria,” is the protagonist of my new novel My Queen, My Love (Mayapple Books, November 25, 2021), the first of the Henrietta of France Trilogy. It is the story of the fifteen-year-old princess Henriette-Marie who is mandated by the Pope and by her brother the King of France to convert the English back to Catholicism by marrying their King, Charles I. Meanwhile, the Catholic Faith is outlawed in the British Isles, so as Queen she becomes the number one lawbreaker. The powerful Duke of Buckingham tries to thwart her growing influence with her husband. And England has become known as a place where queens lose their heads. 

[...]

As Regent, Queen Marie chose to avoid war by making peace with the other Catholic powers of Spain and the Holy Roman Empire. She believed that Catholic monarchies should unite to keep Protestantism at bay. She sent her youngest daughter Henriette to marry in England because she believed there was a chance of bringing Charles I into Catholicism. So at fifteen years old Henriette-Marie aka Henrietta Maria was sent to marry Charles Stuart, who was a decade or so older. The royal couple initially clashed over culture and religion. They quarreled whenever together and so avoided each other for weeks at a time. When they finally did fall in love, theirs became one of the most devoted in the history of royal marriages, and was blessed with nine children. (Read more.)

A review from Gwendalyn's Books:

Henrietta is one to root for as we see the very young bride overcome so many obstacles. Particularly because she is a devout Catholic, and by the actions of the villainess character, George Villiers.

The author take great care to include a vast amount of characters, which made for a more rewarding read for me. A book to catapult its readers into the turbulent era of England in the 1600’s. From the beginning I was hooked and read this one in a day.

Historical fiction at its finest. This was an exceptional portrait of a the wife of Charles I. Brought stunningly to life, with seamless narration and three dimensional characters, a true treasure piece of historical fiction.

E.M. Vidal meticulous research and descriptive writing, has brought one of England’s most tragic queens, Henrietta Maria, vividly to life. (Read more.)

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Britain Mourned George Floyd. Why Won't It Mourn Henry Nowak?

 From Amuse on X:

Begin, then, with the deaths a nation could not stop talking about. When George Floyd died under a Minneapolis officer’s knee in May 2020, Britain responded as though the killing had happened in Bristol rather than 4,000 miles away. The Guardian’s own survey of that summer found demonstrations in more than 260 British towns and cities, from Shetland to south Wales, with crowds of 15,000 in Manchester and well over 210,000 marchers nationwide by mid June. The future Prime Minister knelt for the cameras. This is worth dwelling on, because it proves something the British establishment now seems eager to deny about itself. It is fully capable of treating a police death on another continent as a domestic moral emergency. The machinery exists. The will exists. The question is only when it switches on.

Now set against that the case of Henry Nowak. Last December, Nowak, an 18-year-old finance student at the University of Southampton, walked home from an evening out with his football teammates and was stabbed five times by Vickrum Digwa with a 8.5 inch blade, one wound piercing his heart. When officers arrived, Digwa told them what prosecutors would later call a wicked lie, that he was the victim of a racist attack. The gravely wounded teenager told police he had been stabbed. They handcuffed him anyway. They arrested the dying boy on the word of the man who had killed him, and only when Nowak collapsed did they remove the cuffs and begin first aid. He died at the scene. This week a Southampton jury convicted Digwa of murder, rejecting his claims of self defence and racial provocation, and convicted his mother of assisting an offender for hiding the weapon. Hampshire’s Deputy Chief Constable apologized that Henry was handcuffed and arrested in the moments before he lost consciousness, the Independent Office for Police Conduct opened an investigation, and his reported final words, according to trial reporting and the shadow home secretary, were the three that a nation had treated as sacred only six years earlier: I can’t breathe.

Let me anticipate the first and fairest objection, because the strength of this argument depends on conceding it. The two deaths are not medically identical, and no honest observer should pretend otherwise. Floyd was wasn’t killed by the police but from a fatal overdose of fentanyl according the coroner’s report. Nowak was murdered by a private criminal, and Hampshire Police have cited a pathologist’s view that the depth of the chest wound meant officers could not have saved him even had they believed every word he said. If the claim here were that the police killed Henry Nowak in the way Democrats claimed an officer killed George Floyd, that claim would be false. But that was never the comparison worth making. The variable under examination is not the cause of death. It is the response of a society to a death, and on that variable the two cases are almost laboratory clean. (Read more.)

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Beatings, Bible and Latin: Life as a 17th Century Grammar Schoolboy

 From BBC:

Beatings, Latin translations and Bible studies - a 17th Century grammar schoolboy received a very different style of education from today's students. An exhibition at Huntingdon's former grammar school explores how teaching and learning have changed over the centuries in the Cambridgeshire town.

Curator Stuart Orme said: "Birching (beating with birch twigs) was quite common in the 17th Century and the birch was the symbol of the schoolmaster." The tiny medieval building is now the Cromwell Museum. Its former pupils included the statesman Oliver Cromwell, diarist Samuel Pepys and wartime evacuees.

Most 17th Century school teachers were priests at a time when it was seen as a part-time job, requiring only preaching on Sundays and performing wedding or funeral services, said Orme. Cromwell (1599 to 1658) attended the school between 1610 and 1616, and the local priest Thomas Beard was the future Parliamentarian leader's teacher. Beard found the duties too much, said Orme, and asked to be released in 1614, saying he was "tired with my painful occupation of teaching and would gladly now be set free" - but was not allowed to stand down. (Read more.)

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Baby Charles

 King Charles II as a baby, born on May 29, 1630 (OS). From the National Portrait Gallery:

This is the earliest known portrait of the future king. It was painted, according to the French inscription, when he was four months and fifteen days old. At this age he was described by his mother, Henrietta Maria, as 'so fat and so tall that he is taken for a year old'. The painting was probably sent to the prince's godmother and grandmother, Marie de' Medici, Queen Mother of France. The dog, held by the ear, is a toy spaniel, a breed which later came to be associated with Charles as King. (Read more.)

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A Republic Requires Restraint

From Unlicensed Punditry:

I consider myself a traditional American. I’m neither special nor exceptional because tens (maybe even hundreds) of millions of people of my age are just as traditional as I am. It isn’t so much about us, it is about what we were taught.

Of the many things I learned as I matured, one of which was manners--but what we casually call “manners” are something much more important. They are the small acts of voluntary self-restraint that make a free society possible. Standing in line without cutting, not standing up in front of others at a concert or ballgame, cleaning up after yourself in public places, obeying rules at public gatherings, yielding space to others, lowering your voice in shared environments, and simply saying “excuse me” or “thank you” are not meaningless social rituals. They are evidence that a person understands he is not the center of the universe.

So, what are we to make of the videos of subsets of black Americans twerking at college graduations, black parents blocking the views of seated attendees at these graduations and then basically telling other people to get F’ed when asked to sit down, teens doing violent “takeovers”, violent fights breaking out between patrons and employees at restaurants?

Behavior is not racial, it is cultural—and these are cultures antithetical to the legitimate culture of America.

What we are seeing now goes well beyond simple bad manners. People blast music and videos in restaurants, airports, and public transit as though everyone else has been conscripted into their personal world. Airline passengers melt down over minor inconveniences, restaurant patrons scream at employees or assault them over trivial disputes, and “prank culture” increasingly consists of harassing strangers for internet clicks. Public spaces that once operated on a basic expectation of mutual respect are increasingly treated as stages for attention-seeking, grievance, and performative outrage. Even youth sporting events, which are supposed to teach discipline and teamwork, now sometimes devolve into adults fighting referees, coaches, and one another in front of children. (Read more.)

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Islam’s Sexual Enslavement: A History in Paintings

 From Raymond Ibrahim:

Objectively speaking, the painting in question portrays a reality that has played out countless times over the centuries: African, Asiatic, and Middle Eastern Muslims have long targeted European women—so much so as to have enslaved millions of them over the centuries (see Sword and Scimitar for documentation).

Not only do elements of this phenomenon continue to this day—right smack in Europe—but there is something else, another medium besides writing, that documents this long history: countless more such paintings that feature the abduction, trafficking, and sexual enslavement of European women. Altogether they further underscore the ubiquity and notoriety of this phenomenon.

Indeed, this was such a well-known theme that many nineteenth and early twentieth century artists and painters specialized in it, often based on their own eye-witness accounts. (As one art gallery puts it, “Many … of the most important painters did travel [to the Muslim world] themselves, and what they painted was based on the sketches they had made while they were there…”)

Below are just 20 such paintings (there are many more). Aside from noting the artist’s name, year of painting, and, where possible, title—information which is often difficult to ascertain—I’ve limited my remarks to important asides and clarifications, mostly in the first few paintings, leaving the rest to speak for themselves. (Read more.)

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