Setting the Table

Edwardian Promenade offers a history of fine dining, with an emphasis on the Victorian era.

Color was important to the early- and mid-Victorians, and colored table runners, color glasses such as green hock glasses or ruby-colored wine glasses, added a deep splash of color against the already crowded table. Added to this were mirrors, which generally reflected peaceful scenes if a mirrored plateau with figures was not being used. The Edwardian era saw a streamlined of the table setting, and the table was cleared of the masses of flowers and other accouterments in favor of a simple arrangement of candelabra, bowls of fruit and flower arrangements set one after the other along the length of the table. Now, instead of candles, small lamps, shaded by delicate lampshades, cast an intimate glow across the dining table and its diners.

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The Last Divine Office

Here is another guest post by author Stephanie Mann, who has written a review of The Last Divine Office by Geoffrey Moorhouse about the dissolution of the monasteries by Henry VIII.

This book serves as a companion to Geoffrey Moorhouse's history of the Pilgrimage of Grace, the northern reaction to the Dissolution. There is much to admire in this narrative of the Dissolution of the Monasteries, told through the story of Durham Cathedral and its Benedictine Priory. At the very end of the book, however, Moorhouse adopts a strange attitude about the changes that took place at Durham Cathedral because of the English Reformation, as though they really don't matter. I still give the book four stars, because he provides such an excellent overview of the monastic life, the dissolution of the monasteries, and the Henrician reformation.

The first chapter is evocative, describing the Last Divine Office chanted by the monks of Durham before their way of life is drastically changed, their number reduced, and their monastery surrendered to Henry VIII.

Moorhouse continues, examining the importance of St. Cuthbert, the honor paid to the Venerable Bede, and the beauty and order of the Benedictine Rule. Moorhouse introduces the last Roman Catholic Prince Bishop of Durham, Cuthbert Tunstall, and the last Roman Catholic Lord Prior of the Monastery, Hugh Whitehead, and describes their respective roles.

Moorhouse also very effectively describes how Henry VIII became the Supreme Head and Governor of the Church in England, displacing the Pope from that role by bullying the Convocation of Bishops with fines and other punishments. He describes how Henry's conservative approach, maintaining Catholicism without the Pope, conflicted with Thomas Cromwell's and Thomas Cranmer's Lutheran reforming tendencies (guess who won?). He also demonstrates Henry's demand that his subjects obey him absolutely in the matters of his marriage to Anne Boleyn and his sovereignty over the Church, recounting the executions of the Holy Maid of Kent, the Observant Franciscans, the Carthusians of the Charterhouse in London, Richard Reynolds, and of course, Bishop John Fisher of Rochester and Sir Thomas More.

When discussing the process of the Visitation and the Dissolution of the Monasteries, Moorhouse is certainly willing to point out the duplicity of Henry and Cromwell, and the self-serving efforts of the visitors, all of whom soon saw the financial benefits of closing down the monasteries, selling the land and keeping the riches, to themselves and the Crown.

He also explains why the government closed down the friaries of the mendicant Dominicans and Franciscans--there was no money there because the friars were indeed living in poverty according to their rules--since the friars were preachers and teachers, urging the people to devotion and tradition. They had to go, whether or not Henry made any money in the process.

Turning to how Visitation and plans for Dissolution affected Durham, Moorhouse notes that Tunstall and Whitehead did all they could to stay on the good side of Henry and Cromwell. The inevitable finally occurred, however, and the Benedictines at Durham surrendered their monastery to the Crown in 1540. The Lord Prior became Dean of the Cathedral, and several of the former monks took up new roles, but a tremendous cycle of change had only begun.

The shrines of St. Cuthbert and the Venerable Bede were desecrated and further iconoclasm would take place during the reign of Edward VI. Mary I restored some aspects of the old order, but her short reign did not have time to address the restoration of the monasteries. With the accession of Elizabeth I, new changes in religious worship, practice, and doctrine were legislated in Parliament. During another Northern rebellion in 1569, however, Catholics briefly took over the Cathedral, destroyed the Lord's Table, erected a stone Altar, and the erstwhile priests of the Abbey celebrated Catholic High Mass, with Latin chant and traditional vestments.

Moorhouse commends Tunstall and Whitehead for their acquiescence to the Tudor demands for religious conformity and uniformity. Their flexibility saved their lives and the Cathedral. They still struggled with the cycle of changes; Tunstall died under house arrest by the Archbishop of Canterbury and Whitehead died facing charges of not conforming completely to government commands. As Thomas More noted to one who remonstrated with him for risking his life to obey his conscience, the other's death was just as certain as his--his was just coming sooner and would be on an official schedule!

At the end, Moorhouse is just happy that Durham Cathedral survived (and I am too!), but he almost seems just as happy with the grounds of the compromise that saved the Norman monument--that men were willing to change not just their allegiance to a church hierarchy, but their very way of worshiping God. They didn't just pray the Last Divine Office; they also offered the Last Catholic Mass. The peace and the majesty of Durham have been preserved, but at what cost?

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The Governess

Jane Austen's World describes the most tenuous of professions.

Working as a governess meant a life of limbo for the poor gentlewoman who was forced to support herself due to reduced financial cirdumstances. Jane Fairfax had every reason to fear her future employment. Governesses were a threat to both their employers and the servants of the house, reminding their female employers of how close they were to finding themselves in a similar predicament. Because of their genteel upbringing governesses lived a life of isolation, not fitting in with the servants belowstairs, not even the housekeeper, butler, or nanny, who, while they belonged to the upper ranks of servants, came from humble origins. Governesses seldom earned enough to save for their old age, and their services were often exploited and undervalued.

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La Mystérieuse prophétie

*Note: This post is a continuation of a previous discussion about Fr. Thibaut and St. Malachy, HERE.

I promised to share more about the fascinating book by Fr. René Thibaut, S.J., La Mystérieuse prophétie des papes (Namur: Bibliothèque de la Faculté de philosophie et lettres,1951, Imprimatur: June 28, 1945, Et. Jos. Carton de Wiart). Fr. Thibaut was a Belgian Jesuit who taught at the University of Namur. Fr. Thibaut's analysis of the titles given to the various popes is worth reflecting upon since so much of the history of the Church is captured therein. The last forty titles of the prophecy attributed to St. Malachy, which escaped the tampering of Renaissance forgers, are carefully scrutinized. Fr. Thibaut discerns that among the complex patterns woven into the Prophecy are thirteen couplets or binaries, as seen on p. 85:

77. Crux Romulea, Aquila rapax 97. Clement VIII, Pie VII.
78.Undosus vir, Peregrinus apostolicus 96. Leon XI, Pie VI.
79. Gens perversa, Ursus velox 95. Paul V, Clement XIV.
80. In tribulatione pacis, Rosa Umbriae 94. Gregoire XV, Clement XIII.
81. Lilium et rosa, Canis et coluber 98. Urbain VIII, Leon XII.
82. Jucunditas crucis, Lumen in caelo 102. Innocent X, Leon XIII.
83. Montium custos, Crux de cruce 101. Alexandre VII, Pie IX.
84. Sidus olorum, De balneis Etruriae 100. Clement IX, Gregoire XVI.
85. De flumine magno, Vir religiosus 99. Clement X, Pie VIII.
86.Bellua insatiabilis, Animal rurale 93. Innocent XI, Benoit XIV.
87· Paenitentia gloriosa, Columna excelsa 92. Alexandre VIII, Clement XII.
88. Rastrum in porta, Miles in bello 91. Innocent X II, Benoit XIII.
89. Flores circumdati, De bona religione 90. Clement XI, Innocent XIII.

I will share Fr. Thibaut's explanations of some of the binaries and how they connect with historical events. Crux Romulea (Clement VIII, 1592-1605) and Aquila rapax (Pius VII, 1800-1823) signify the confrontation between two Romes, of Christian Rome symbolized by the Cross with pagan Rome symbolized by the Eagle. Under Clement VIII the Protestant advance was halted while under Pius VII Napoleon, "the rapacious eagle," tried to make Europe and the Church his own in a new Roman Empire. (p.86)

The titles Lilium et rosa (Urban VIII, 1623-1644)) embraces the latter period of the counter Reformation of seventeenth century. (p.86) The "Lily and the Rose" symbolize the virtues of purity and chastity preached and lived by such extraordinary saints as St. Francis de Sales, St. Vincent de Paul, St. Jeanne de Chantal, and St. Louise de Marillac, as well as the religious orders founded at the time, such as the Visitation, the Daughters of Charity, the Lazarists, the Eudists, the Oratorians, and the Sulpicians. (p.87) Canis et coluber (Leo XII, 1823-1829)) or the "Dog and the Serpent" signifies the age of Revolution, of the liberalism which encouraged unrestrained license (p.87) and the class hatred and envy that would eventually give rise to socialism.

Bellua insatiabilis (Innocent XI, 1676-1689) or "Insatiable Beast" represents Louis XIV whom Innocent excommunicated. In his insistence on controlling the Church in France, Louis emulated Philip le Bel, as well as becoming a precursor of Napoleon, the "Rapacious Eagle." Gallicanism opened the way for the overt paganism of the reign of Louis XV, manifested in art, in literature and in lifestyles. Animal rurale (Benedict XIV, 1740-1758) symbolizes the preoccupation with naturalism that characterized the era, being that in prophetic language the words "animal" and "rural" symbolize paganism. (p.88) Such elements opened the way to the Revolution.

Towards the end of the list, Fr. Thibaut explores the individual meaning of the titles in chronological order, often in strophes of three. I will mention those I found especially compelling. Rosa Umbriae is Clement XIII, reigning from 1758 to 1769. In 1765 Pope Clement authorized the feast of the Sacred Heart; the "Rose" symbolizes the feast of love. (p. 90)

There follows a triptych of popes, numbers 95, 96 and 97 which are Ursus velox (Clement XIV, 1769-1774), Peregrinus apostolicus (Pius VI, 1775-1799) and Aquila rapax (Pius VII, 1800-1823). Clement XIV's reign saw the prelude to the Revolution, ideas and forces which swept Europe like a "charging bear" during the years which also saw the suppression of the Jesuit order. The Jesuits were among the few who had the ability to debate and confound the new ideas put forward by the philosophes; the order was disbanded at the moment it was most needed.

As an anagram "PeregrInUS aPostolIcUS" or "Apostolic pilgrim" signifies both Pius VI and VII who were forced into exile. Fr. Thibaut says that the repetition of the name "Pius" is a refrain. "Pius! Pius!" is similar to the sailors' cry of "Land! Land!" upon catching sight of a distant shore. (p.91) The difference between the two popes is that Pius VI had to contend with the Revolution, and Pius VII with the Aquila rapax, Napoleon Bonaparte, as has been said before.

Another triptych of popes includes Crux de cruce (Blessed Pius IX, 1846-1878), Lumen in caelo (Leo XIII, 1878-1903), and Ignis Ardens (St. Pius X, 1903-1914) There is an exhaustive analysis of the mysterious connections between the three popes and the historical circumstances which they each faced which would take five blog posts to explain. For one thing, they each received at baptism a name of one of the three saints closest to the Blessed Mother: John, Joachim, and Joseph. (p.95) The "Cross from the Cross" refers to the persecution of the papacy at the hands of the House of Savoy, whose coat-of-arms bore a cross. On a deeper level, it signifies Christ Crucified, with Mary the Coredemptrix at the foot of the cross. "Cross from the Cross" is an echo of "flesh of my flesh" of Genesis 2:23, when Eve was brought forth. The new Eve, Mary Immaculate, received the privilege of her Immaculate Conception, defined by Blessed Pius IX in 1854, because of the future merits of her Son. (p.94) "The Light in the Sky" of Leo XIII is an allusion the the Eternal Father who dwells in light inaccessible. (1 Tim. 6:16). It also alludes to Apocalypse 12: 1: "And a great sign appeared in the sky." (p.94) The encyclicals of Leo XIII challenged the modern world as it grew closer to the cataclysms of the twentieth century. "The Ardent Fire" of St. Pius X signifies the persecution of the Church (p. 93), about to be intensified in many places, and already in full force in France, where many religious communities were expelled.

Next Fr. Thibaut analyzes the three popes who faced the upheavals of the early twentieth century, Religio Depopulata (Benedict XV, 1914-1922), Fides Intrepida (Pius XI, 1922-1939), and Pastor Angelicus (Pius XII, 1939-1958). "Religion Depopulated" refers to the World War I which Fr. Thibaut says was the natural effect of the great apostasy of the European nations. The apostasy, however, was not universal, and the "Intrepid Faith" of Pius XI symbolizes the martyrs in Spain and Mexico at the time. (p.96) The fall of Russia into Communism and the resultant persecution of believers needs also to be remembered. "The Angelic Shepherd" was Pius XII, who would lead the sheep through many catastrophes, namely World War II and the spread of Communism.

Pius XII was still reigning when Fr. Thibaut published his book, so his historical insights end with that pope, although he guesses at what the future would hold. He surmises that Pastor et nauta, the "Pastor and Mariner" whom we know as John XXIII (1958-1963), signifies that the Church's mission to the world would come into into stormy seas. (p.97) Fr. Thibaut predicted that the persecution of the Church by the world would be redoubled during that reign. He saw Flos florum, "The Flower of Flowers" of Paul VI as a consoling symbol (p.97) Others have connected the lilies of purity with Humane Vitae.

De medietate lunae "Of the half moon" is (John Paul I, August 26-September 28, 1978) and De labore solis "The Eclipse of the Sun" is (John Paul II, 1978-2005). Fr. Thibaut says that in prophetic language the sun and moon herald the coming of the judgment of God as well as calamitous times of great schism in the Church. Changes in the moon signify civil anarchy and changes in the sun suggest religious anarchy. (p.97) It also comes to mind, remembering how Pope John Paul II canonized more saints than any pope in history, the verse from Matthew: "Then shall the saints shine like the sun in the kingdom of their Father." (Matthew 13:43)

It is then, as Fr. Thibaut interprets, that the kingdom of God will be manifested in an extraordinary manner. Benedict XVI is De gloria olivae. "The Glory of the Olive" means that the people of God, represented by the olive tree, will be glorified in an unprecedented way. Fr. Thibaut claims that many factors point to 2012 as being the pivotal year for the culmination of events but, as he makes clear, exactly what the future holds remains to be seen. (p.97) He makes it clear, however, that this does not indicate the end of the world but the end of an era. As for myself, I have found Fr. Thibaut's book to be inspiring, in that he reflects upon all that has already transpired, upon the many calamities through which the Church has journeyed. It is cause for hope rather than trepidation, hope which inspires reverence, prayer and vigilance.

"But of that day and hour no one knoweth, not the angels of heaven, but the Father alone." Matthew 24:26 Share

Angels and Demons

Modern fantasies about Catholicism.

Elizabeth Lev discusses the real Rome compared to the fantasy Rome.

Terry Nelson saw it, too. Share

The Tyburn Tree

The infamous scaffold. (Via Immaculatae) Share

A Daughter's Love

Author Stephanie Mann reviews John Guy's study of the relationship between St. Thomas More and his daughter Meg. According to Mrs. Mann:

There have been attempts to besmirch the reputation of Sir (Saint) Thomas More--unsubstantiated and denied rumors of torture, inflated numbers of executions for heresy under this administration as Chancellor, and emphasis on the more colorful language in his polemics against Luther and Tyndale. All are cited as unworthy of a canonized saint, either reflecting confusion about historical accuracy or what it means to be a saint.

In this book, John Guy describes the relationship between Thomas More and his dearest daughter, Margaret Roper. It is a loving relationship, demonstrating the richness of character and integrity of both father and daughter. Guy highlights Thomas More's progressive educational program for all his children, including his daughters, uncommon at the time, with the highest standards of contemporary humanism. Erasmus of Rotterdam found in Margaret More Roper a critical and discerning reader who could appreciate his efforts and correct his Latin.

Crucially, John Guy emphasizes that Thomas More had completely integrated the sacred and the secular in his way of life and yet steadfastly kept the public and the private aspects of his life separate. When he was with his family, or when he wrote to them when he was away from them, he did not discuss the efforts, burdens or issues of his working life, as lawyer, member of Parliament, ambassador, or Chancellor. It was only when he knew that public life was going to intrude violently and with deadly force on his private life that he gave his family a sign of what was to come: a brutal knock at the door, interrupting the family gathered at meal and a preemptory summons to answer charges of treason.

Also crucially, Guy highlights the ferocious will to power of Henry VIII once he knew what he wanted and experienced the satisfaction of obtaining it. Henry was then insatiable and only those who bowed utterly to his desire could hope to survive, and even they faced the danger of his changing mood and will. Thomas More tried to warn Thomas Cromwell (as depicted in the film Anne of the Thousand Days) never to let the king focus on what he could do, but only on what he should do. More followed his own advice and was executed; Cromwell did not follow that advice and was still executed.

Margaret was one of the few who knew her father wore a hair shirt; she would thus be the only one who knew how to sustain him during his imprisonment in the Tower, engaging him with both intellectual diversion and prayer. She would be his champion after his execution, rescuing his head from its place in the row of traitors and preserving all his works, including the letters and treatises he wrote in the Tower, so that they could be published during the reign of Mary Tudor, Henry VIII and Catherine of Aragon's surviving child and the first Queen Regnant of England, Ireland and Wales.

A sad and final irony I gained from the story of this relationship was an inkling of what might have been: if Henry VIII could have had the same respect and love for his daughter Mary, he could have fulfilled his early promise as a Renaissance prince. If Henry had seen Mary as the gift she was, with her intellect, her musical talent, and the same desire that Margaret had to please her father, what might have been? But then, we might not have the works Thomas More wrote in the Tower, when he put polemics aside and contemplated Jesus in His Passion, the soul facing comfort and tribulation, and that loving last letter to Margaret, praising her for her demonstration of love as he returned to the Tower of London after his trial.

John Guy has given us the great gift of this book, clarifying many aspects of Thomas More's life, including his relationships with his second wife Alice and his great friend Erasmus, who both sadly abandoned him when he faced the trials of the Tower. The supporting materials (illustrations, family trees, and bibliography) are great.

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Where Politics and Faith Intersect, Part 3

The choices we face.

Over the past two weeks, in "Where Faith and Politics Intersect" and "Where Faith and Politics Intersect, Part II," I have examined the situation in which Catholic voters in the United States find themselves. On the national level, neither of the two major parties reflects the moral and social teaching of the Catholic Church completely. Indeed, sometimes through the positions they have adopted and sometimes simply through compromise, both parties fall significantly short of what Catholics should expect in their political leaders.

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Robin Hood

Love is in the greenwood building him a house
Of wild rose and hawthorn and honeysuckle boughs:
Love is in the greenwood, dawn is in the skies,
And Marian is waiting with a glory in her eyes.
~from "A Song of Sherwood" by Alfred Noyes

(Artwork courtesy of Clement of the Glen)

Having grown up in a house surrounded by woods, I have always had a fascination with life in the forest, with the solitude, the dangers, the sense of freedom inherent in wilderness dwelling. Robin Hood was one of my childhood heroes. He is essentially a noble character forced by circumstances to rebel against unjust laws. According to Britain Express:

The story of Robin Hood is so well known that it scarcely needs to be reviewed, but don't worry, I'll do it anyway. The "facts ", at least one romantic version of them, are these. In the time of Richard the Lionheart a minor noble of Nottinghamshire, one Robin of Loxley, was outlawed for poaching deer. Now at that time the deer in a a royal forest belonged to the king, and killing one of the king's deer was therefore treason, and punishable by death.

So Robin took to the greenwood of Sherwood Forest, making a living by stealing from rich travellers and distributing the loot among the poor of the area. In the process he gained a band of followers and a spouse, Maid Marian. Despite the best efforts of the evil Sherrif of Nottingham he avoided capture until the return of King Richard from the Crusades brought about a full pardon and the restoration of Robin's lands. In other versions he dies at the hands of a kinswoman, the abbess of Kirklees Priory. That, in a very small nutshell, is the legend, but is there truth behind it?

Well, possibly. Someone, or maybe several someones, named Robin Hood existed at different times. Court records of the York Assizes refer to a "Robert Hod", who was a fugitive in 1226. In the following year the assizes referred to the same man as "Robinhud". By 1300 at least 8 people were called Robinhood, and at least 5 of those were fugitives from the law. In 1266 the Sherrif of Nottingham, William de Grey, was in active conflict with outlaws in Sherwood Forest. It seems most likely that a number of different outlaws built upon the reputation of a fugitive in the forest, and over time, the legend grew.

One thing to note about the early legends is that Robin Hood was not an aristocrat, as he was later portrayed, but a simple yeoman driven to a life of crime by the harsh rule of the law of the rich. As such, it is easy to see how his story soon became a favourite folk tale among the poor.

There is, in the grounds of Kirklees Priory, a old grave stone, marking the final resting place of one "Robard Hude". Proof that part of the tale may be true? It would be nice to think so.

Here is another site which explores the Robin Hood legend and the historical Robin. The most famous of outlaws also found his way into a nursery rhyme.

Robin Hood, Robin Hood,
Is in the mickle wood!
Little John, Little John,
He to the town is gone.

Robin Hood, Robin Hood,
Telling his beads,
All in the greenwood
Among the green weeds.

Little John, Little John,
If he comes no more,
Robin Hood, Robin Hood,
We shall fret full sore!

There are many tales about Robin Hood, ballads and poems spanning the centuries, as well as many films over the years. A new film with Russell Crowe is in production for release in 2010. Here is an account of Robin's death upon which the tragic film Robin and Marian was based.

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