Tea at Trianon: The Mysterious Frescoes of Castelseprio

John Wilson Croker on Marie-Antoinette

"We have followed the history of Marie Antoinette with the greatest diligence and scrupulosity. We have lived in those times. We have talked with some of her friends and some of her enemies; we have read, certainly not all, but hundreds of the libels written against her; and we have, in short, examined her life with– if we may be allowed to say so of ourselves– something of the accuracy of contemporaries, the diligence of inquirers, and the impartiality of historians, all combined; and we feel it our duty to declare, in as a solemn a manner as literature admits of, our well-matured opinion that every reproach against the morals of the queen was a gross calumny– that she was, as we have said, one of the purest of human beings."

~from History of the Guillotine by John Wilson Croker, 1844

Edmund Burke on Marie-Antoinette

"It is now sixteen or seventeen years since I saw the queen of France, then dauphiness, at Versailles; and surely there never lighted on this orb, which she hardly seemed to touch, a more delightful vision. I saw her just above the horizon, decorating and cheering the elevated sphere she had just begun to move in, glittering like a morning star full of life and splendor and joy. Oh, what a revolution....Little did I dream that I should have lived to see such disasters fall upon her, in a nation of gallant men, in a nation of men of honor and of cavaliers! I thought ten thousand swords must have leaped from their scabbards, to avenge even a look which threatened her with insult. But the age of chivalry is gone; that of sophisters, economists, and calculators has succeeded...."

~Edmund Burke, October 1790

Monday, June 23, 2025

The Mysterious Frescoes of Castelseprio

From Hilary White at The Sacred Images Project:

It might seem surprising that this fresco of Christ Pantocrator, discovered in the apse of a small obscure church in the north of Italy, is so unusual that it caused a major re-write of the art-history timeline.
It looks like any early Byzantine image that we’ve seen hundreds of times: serene, otherworldly, with the face symmetrical with classical proportions, modelled with lights and darks to give the impression of lifelike three-dimensionality. But at the same time, we can see it is stylistically different: the softness of the facial modelling, the natural fall of the hair, the subtly rendered shadow beneath the chin, the piercing gaze and human expression.
In fact, it immediately reminds me in its naturalism of the frescos discovered at Pompei and Herculaneum. It might not be surprising to find that it dates to the earliest paleo-Christian period, when Roman standards were still in use.
But that would be the wrong guess. (Read more.)