Société des écrivains des Nations Unies à Genève United Nations Society of Writers, Geneva Sociedad de Escritores de las Naciones Unidas
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- Điều hướng trang này:
- Manuscripts abroad
- Age of enlightenment and destruction
- Ita Marguet, ILO, retired CHURCHES: A rhymed essay
Illuminated manuscripts These are decorated books of gospels, prayers, etc. with ornate designs in water colour and gold leaf first practised by monastic scribes in the early middle ages. Handwritten on vellum, the art is exemplified in the eighth century Book of Kells, the greatest of all surviving Gospel codices. Insular manuscripts (those made in Ireland and Britain before the ninth century) combine Celtic, Germanic, Pictish and Late Antique elements. The earliest Irish manuscript to survive is the Cathach of St. Columbus of the sixth century (Royal Irish Academy, Dublin). As decorations for the texts of their most precious books, the Irish instinctively found their models not in the crude lines of Ogham, but in their own prehistoric mathematics and their own most ancient evidence of the human spirit, the megalithic tombs of the Boyne Valley, that had been constructed in Ireland about 3000 B.C. The earliest manuscripts introduce simple Mediterranean motifs of a fish and cross. The Book of Durrow, usually dated to the late seventh century, presents decorative gospel frontispieces that in different variants, appear in the later insular books: a Gospel incipit (opening words) is enlarged to a decorated initial and prefaced by an Evangelist symbol and a carpet page (a full-page ornamental design). Other manuscripts include other symbols or portraits of the Evangelists, or a combination of both. The eighth century saw the highest development of the insular Gospel book, with the Book of Durrow, Echternach (Luxemburg) or Maihingen Gospels probably early in that century and the Book of Kells and the Macregol Gospels towards the end. The most famous Irish codex is the Book of Kells, as late as the twelfth century said to be « the work of an angel, not of a man ». It is kept in the library of Trinity College, Dublin. Codex was used originally to distinguish a book, as we know it today, from its ancestor, the scroll. The pages of most books were mottled parchment, that is, dried sheepskin, which was universally available and nowhere more abundant than in Ireland. Vellum, or calfskin, which was more uniformly white when dried, was used more sparingly for the most honoured texts. Astonishingly decorated Irish manuscripts of the early medieval period are today the cherished jewels of libraries in England, France, Switzerland, Germany, Sweden, Italy, and even Russia. How they got there lies with the greatest Irish figure after Patrick, Columcille, prince of Clan Conaill, born in the royal enclosure of Gartan, on 7 December 52l, less than ninety years after Patrick’s arrival as bishop. Beginning with the modest initials of the Cathach, or Warrior, a book shrine, with a psalter in Latin said to have been written by St. Columbus from the sixth century, which are unique in the European experience and already sacrificed the legibility of the letters to artistic achievement, the artistic development comes to its peak in the opening pages of the Gospels in the Book of Kells. At the same time decorated initials are used to increase the general legibility of the text by their function as punctuation. The Irish had to learn their Latin, so punctuation and the division of words (which they pioneered) assumed considerable importance. Starting with the Book of Durrow, smaller initials emphasise particular texts. Some manuscripts extend the standard scheme of illuminated frontispieces by depicting New Testament scenes. Two such manuscripts, now in Sankt Gallen, Switzerland, and Turin, Italy, represent the spread of Irish art to the Continent. With the introduction of new monastic orders, foreign influences intensified, and many manuscripts were imported or commissioned from abroad: for example, a richly decorated Psalter or liturgical book was copied in l397 for Christ Church Cathedral, Dublin, now the cathedral church of the Church of Ireland united diocese of Dublin and Glendalough. The monastic site at Glendalough is closely associated with St. Kevin, anglicised name of Caoimhin, (d. 6l8) said to be of the Corb dynasty. The Book of Glendalough, until recently thought to have been lost, is cited as a valuable and venerable source in many manuscripts of the period beginning c. l400. This most beautiful of twelfth century Irish codices was written by a single scribe c. ll20-30. It contains among other texts the earliest copy of Saltair na Rann as well as a large corpus of secular and saints’ genealogies and some Leinster origin legends. The manuscript was kept mainly in Connaught; since l600 it formed part of Sir James Ware’s library. Manuscripts abroad Ireland’s turbulent past has led to the almost complete destruction of its early manuscripts, the exceptions being some of the few that were enshrined as the relics of saints. We have to look to England, France, Germany, Italy and Switzerland for manuscripts that were carried abroad by wandering scholars and pilgrims. Over the centuries these men continued to resort to certain sites with a long tradition of Irish contacts. Bobbio, St. Columbus’s foundation in northern Italy, preserved an important collection, dating from the seventh to the eleventh centuries. Those of particular Irish interest are now divided between Milan, like the Orosius, perhaps the oldest surviving manuscript in Irish script; Turin, which holds the remnants of an eighth century Irish Gospel book; and Naples, which has early texts. Similarly at Sankt Gallen in Switzerland in a house that grew up on the site of the Irish saint’s hermitage, there is an early Gospel book and grammatical manuscripts. Reichenau, to where the Sankt Gallen manuscripts were moved in the tenth century, was also popular with Irish scholars, as was Würzburg in Germany, the place of martyrdom in 698 of St. Kilian or Cillian. The ninth century Sankt Gallen catalogue contains a selection of books in Irish script. England, despite its own great losses, managed to preserve some important examples of early manuscripts deriving from the evangelisation of Northumbria by the Columban monks of Iona, such as the Durham Gospels; because the Irish taught the English to write, there is some uncertainty about the origin of some of these manuscripts. The Irish connections of these English monks were not incidental. Besides having profited substantially from the intellectual atmosphere that the Irish foundations had established in Britain, many had studied in Ireland or were assisted in their labours by Irish monks (such as Kilian and his eleven companions, who evangelised Franconia and Thuringia). Alcuin of York’s first master, Colgu, had been Irish, as was his best friend, Joseph, who accompanied him to France and died beside him; and he was succeeded at the court school by the Irish scholar Clement Scotus, or John the Irishman. Alcuin went to Aachen at the invitation of Charlemagne and then settled at Tours, in France, with Irish students, who carried northern English and Irish styles into Carolingian manuscript painting at the famous Tours scriptorium. The sixteenth and seventeenth centuries saw a fresh wave of Irish emigration and the establishment of new houses on the Continent, particularly at Rome, Paris, Salamanca and Louvain. While Salamanca has given its name to a well-known codex of Irish saints’ lives, Louvain was unquestionably the most important for the transfer of manuscripts. In the first half of the seventeenth century it came to specialise in Irish history and hagiography on writing about the lives of saints, leading not only to the accumulation of older manuscripts but also to new works in Irish, such as the Annals of the Four Masters and the Martyrology of Donegal. These manuscripts are now divided between the Irish Franciscan House of Studies in Killiney, Co. Dublin, University College, Dublin (UCD), and the Royal Library in Brussels. Age of enlightenment and destruction The invention of printing from movable metal type by Johannes Gutenberg in Mainz in 1439 virtually ended the production of illuminated manuscripts by about l500, but already etching and engraving had become important. Unfortunately, the Reformation in northern Europe was hostile to religious art, and the religious wars of the late sixteenth and seventeenth centuries were appallingly destructive. This destruction continued in the eighteenth century, with the rejection by the ‘Age of Enlightenment’ of art which was considered crude, peasant and uncultured, if not mere folklore, so that in France the destruction of medieval sculpture was widespread, and the French Revolution continued the process on political and ideological grounds. In this context the flourishing of Christian art with the protection and survival of manuscripts, paintings, sacred and other precious objects seems, in itself, something of a miracle. Ita Marguet, ILO, retired CHURCHES: A rhymed essay Churches are a metaphor of Being, earth and heaven, paradox of living. Man is paradox and metaphor at once: man is pilgrim, man is circumstance. Churches house eternal questions, seeking answers through the generations, call Our Father the primeval Source, exult with Gloria in the vital Force. Man is always making meaning, yearning anxiously for fuller being, learning how to live in doubt and existential searches, countering with Credo and erecting churches. Churches hail the Logos, teach the Word, the Evangelium through millennia heard. Beatitudes(1) of personal salvation offer hope(2) to every congregation. In the stillness here the soul may pray alone or loudly with the faithful Psalms intone. Litanies are heard in muted breath, liturgies(3) to cope with life and death. Endless melodies remembered… Judgment through God’s mercy tempered: Miserere nobis echoes every stone. Agnus Dei reigns upon the mystic throne. Here when doubt arises, faith advises-- candles hesitate as incense rises. Hope induces inner reconciliation in these pious homes of contemplation. Churches, mosques and synagogues adore the self-same God. Their doctrine at the core is brotherhood, respect and mutual love not the rapacious eagle, but the dove ! Symbol-rich: the fish, the lamb, the bread and wine (4), the lily, rainbow, heaven's keys, the cross, the vine(5). Alpha and omega, winter solstice, birth and new beginning, Love(6) surpassing justice. Lighthouse for the sailor searching port, refuge for the homeless, faithful fort(7), profile of old cities, heart of many a town, eyes scale up the towers, gargoyles(8) ogle down. Centuries of pilgrimage on Jacob’s route(9) tell histories of journeying on foot to old Santiago or to older Rome, from votive chapels to the highest dome. Botafumeiro(10) swings in smoke and prayer, incense over pilgrims cleans the air. Once Tannhäuser(11) went to Rome to make confession, and, though not absolved, he found redemption. Churches consecrate civilizations, elevate in art man’s fears and aspirations : mosaics(12), frescoes(13), icons(14), reliefs (15), sculpture(16), everlasting treasures of each culture(17). Heritage of mankind, miracle of art: Stained-glass windows(18) that uplift the heart, smiling angels(19) that inspire the soul, solace-spending Pietas(20) that console. 
Photo by A.de Zayas Round cupolas(21), thin spires(22) and belfries high
Columns (24), capitals (25), and ogives fine, high altars where rich candelabra shine (26) … Baptismal fonts(27) that witnessed centuries of tears, ablutions, sonorous epiphanies. High pointed arches, flying buttresses, matter immaterial, mystery of light's caress (28) … Portentous tympana project apocalypse(29) damn Lucifer to thunderous eclipse. 
Photo by A.de Zayas Churches harbour deep emotion, high elation:
Children’s choirs extol the simple pleasures, organs(32) rumble truth in awesome measures. Silent cloisters(33) echo centuries of voices, ghosts of monks contending transcendental choices. Monastic ruins(34)-- relics of the past-- are vestiges of time become iconoclast. Still gardens strewn with stories all about are breathing memories of faith lived out. Religion is a metaphor of Being -- earth and heaven, parable of living, Manichaean struggle, striving for the best, yet sinning on the way - errare humanum est!(35) Power plagues all human institutions: Churches sold indulgences (36), led inquisitions (37), fostered superstition, witch hunts (38), persecution, murderous crusades (39), doctrinal strife (40), disunion (41). Human, all too human is the institution: hubris and humility in competition, gore and glory blur in our imagination. Parables, like men, are fraught with contradiction. Zeitgeist seeks new meaning in dogmatic unbelief… Yet man needs faith as he needs air, for life is brief. Communion in belief bears fortitude, as cosmic union(42) counters cosmic solitude. Behold that churches are like poetry in stone, angelic wings through many ages flown, fine choirs that dona nobis pacem sing, two hands in prayer(43) that peace at last may bring. 
Albrecht Dürer 1. The Beatitudes, Matthew Chapter V, the Sermon on the Mount. César Franck, Les Béatitudes (1879).
4. At Cana (Qana, Lebanon) Christ performed his first miracle, transforming water into wine. Veronese's oil painting "Wedding at Cana" (1563, Louvre) depicts the scene described in the gospel of John 2: 3-5. Cf. Giotto's fresco at the Arena Chapel, Cappella degli Scrovegni, Padua. Luke 22:17-20 retells the Last Supper and the symbolism of the bread and wine, recalling the sacrifice of bread and wine by Melchizedek in Genesis 14:18. 5. Parable of the vine in the gospel of John 15: 1-17, Matthew 21: 33-43 and in Ps 80:8-16, Isa 5:1-7, Jer 2:21, Ezek 15:1-8, 17:5-10, 19:10-14, and Hos 10:1 in the Old Testament. 6. Deus caritas est, Encyclical of Benedict XVI (2006). 7. “A mighty fortress is our God, a bulwark never failing”, Martin Luther’s powerful hymn and metaphor (Ein feste Burg ist unser Gott), text and music written by Luther 1529 after a plague epidemic had struck Wittenberg (Cf. Psalm 46). Heinrich Heine referred to it as the “Marseillaise of the Reformation”. 8. The gargoyles of Notre Dame de Paris were immortalized by Victor Hugo. 9. The name "Santiago" is a Spanish-Galician transformation of "San Jacobo" or Sant'Iago (from the Hebrew Yako of Za'akov/Jacob). It evolved to San Tiago and eventually Santiago. In 1993 the 9th century pilgrimage route from France to Santiago (El Camino) was declared a UNESCO World Heritage Site. St. Francis of Assisi, Queen Isabella of Castile and Pope John XXIII all made the journey to Santiago. 10. The Botafumeiro is the famous bronze thurible that swings from the dome of the Cathedral of Santiago de Compostela in Galicia, Spain. Since the Middle Ages incense is burned in this incensory to dispell the smells of the pilgrims. It is one of the largest censers in the world, weighing 80 kg and measuring 1.60 m in height. It swings in a 65 meter arc between the Azabachería and Praterias doorways at the ends of the transept. At the top of the swing, it rises to 21 meters. The original silver thurible was stolen by Napoleon’s troops in April 1809, during the French occupation. It was replaced by the present thurible in 1851. 11. Opera in three acts by Richard Wagner. The womanizing troubadour Tannhäuser is denied absolution of his sins by the Pope in Rome, but his soul is ultimately redeemed through the intervention of Saint Elisabeth. 12. Mosaic of the Baptism of Christ in the Cathedral of Ravenna (6th century). Mosaics of Christ as Judge and the Three Kings in the Basilica of St. Apollinare Nuovo in Ravenna (6th century). Byzantine mosaics at Hagia Sofia (9th century) and Holy Saviour of Chora, in Istanbul. Madonna and child mosaic in the apse of dome of the Hosios Lukas Monastery near Delphi in Greece (11th century). For my 60th birthday I went to see the 12th century mosaics of the Abbey Church of Saint Philibert in Tournus, France. And while teaching in Lund I visited the 11th century Lund Cathedral with its wonderful 19th century mosaic of the Last Judgment by Joakim Skovgaard on the semicircular apse. 13. Frescoes in the Church of Assinou in Cyprus (11th century). 12th century fresco Les vieillards de l'Apocalypse in the Abbey of Payerne. 14th century fresco Christ en gloire at the Benedictine abbey of Saint Sulpice near Lausanne. Fresco in the apse of the Chora-monastery in Istanbul (The Resurrection, 14th century). Giotto frescoes of The Holy Family’s flight to Egypt and Christ entering Jerusalem, at the Arena Chapel in Padua, Italy (14th century). Frescoes in Wenceslas Chapel in Prague’s St. Vitus Cathedral (14th century). Masaccio's The Expulsion from Paradise (1427) at the Brancacci Chapel of Sta. Maria del Carmine in Florence. Fra Angelico's Annunciation (1440) at the Church of St. Marco in Florence. Although some people really love Piero della Francesca's Discovery of the True Cross at the Church of San Francesco in Arezzo, I have very little use for the legend or its rendition. Leonardo da Vinci’s Last Supper (1495-97) in the Monastery of S. Maria delle Grazie in Milano. Raffael’s La disputà del sacramento (1508) in the Vatican. Michelangelo's frescoes in the Sistine Chapel (Genesis, 1512, Last Judgment, 1541). 15th century frescoes in the Church of St. Leonhard near Bad Ragaz, Switzerland. Fresco of the Last Supper (1646), in the Church of St. Remigius in Falera, Graubünden, Switzerland. 17th century baroque frescoes in the Benedictine Abbey Church of Disentis in Graubünden. Mother of Tenderness Fresco on the exterior of the Dormition Cathedral in the Kremlin, Moscow. 14. Mother of God of Vladimir icon (12th century, taken 1131 from Constantinople to Kiev and installed in the Devichi monastery in Vyshgorod), known as Eleousa (tenderness), because the madonna and child are painted cheek-to-cheek. In 1151 Prince Andrei Bogoloubski took the icon North in order to found the new capital of Vladimir, where the icon is reputed to have performed miracles. In 1395 the icon was transported to Moscow, and it is said that it saved the city from foreign invasions. Today the icon is exhibited in the Tretyakov gallery in Moscow. Russian icons in the Cathedral of the Annunciation in Moscow (14th century). Icons of the St. Catherine Monastery in Sinai, built by Justinian 557 AD. 15. At the Basilica of Santa Croce in Florence (1295-1385) one can admire the bas-relief (1478) of the Madonna del Latte. Also in Florence one discovers Donatello’s high relief of the dancing children in the Cantoria balustrade of the Duomo, currently at the Cathedral museum. In the Cathedral of Amiens, Old Testament reliefs on the South Portal, in the Dom of Naumburg the reliefs of the Last Supper and of the Betrayal of Judas. 16. Michelangelo’s Pieta (1499) at St. Peter’s Basilica in Rome is for me the most sublime expression of divine pathos. I saw it for the first time as a teenager in the Vatican Pavilion at the World's Fair in New York 1964 and have admired it many times since in Rome. There too I saw his Moses at the Church of St. Pietro in Vincoli. Bernardo Rosselino's Tomb of Leonardo Bruni at the Church of St. Croce in Florence is moving, Donatello’s Maria Magdalena, also in Florence, breathtaking, Donatello's bronze St John the Baptist at the Sienna Catheral and his wooden Baptist at Santa Maria Gloriosa in Venice absolutely remarkable. Bouchardon's Mater dolorosa at the church of Saint-Sulpice in Paris. In Germany I particularly admire the Bamberber Ritter (1230) in the Bamberger Dom and the wooden altars by Tilman Riemenschneider (1460-1531), among them the Marienaltar in Creglingen and the Heilig-Blut Altar in the Jakobskirche in Rothenburg ob der Tauber. Particularly impressive are the gothic high altar of the Cathedral of Krakau in Poland (1484) and the hanging medallion depicting the Annunciation (1517), at the St. Lorenz Church in Nürnberg, both by Veit Stoss (1447-1533). The marble tombs of Marguerite de Bourbon, Philibert le Beau, and Marguerite d'Autriche in the Gothic Monastery Church of Brou in Bourg-en-Bresse are highest art. The 1953 altar at the Cathedral of St. Stephen in Passau by sculptor Josef Henselmann depicts the lapidation of St. Stephen. The Cistercian Abbey of Waldsassen in Franconia, north Bavaria, has the best wood carvings I've ever seen, including "Verkörperung des Stolzes" and "Ignorant". Every religion articulates spirituality in art – e.g. the colossal Buddha of Kamakura, Japan (1252). 17. Religious buildings have marked all civilizations. Religious writings and mythologies belong to the greatest treasures of world literature. Even to the non-believer the Psalms and the Song of Songs are great poetry. Who has not marvelled at David's Psalm 139 (set to music by the American composer Carlisle Floyd)? Religious paintings fill the walls of churches, musea and government offices. van Eyck's Ghent Altarpiece (1432) at the Church of St. Bavo in Ghent is breathtaking. El Greco's The Burial of Count Orgaz (1586) at the Church of Santo Tomé in Toledo is splendid, as is Rubens’Assumption (1626) at the main altar of the Cathedral of Antwerpen. Devotional art reflects the religious fervor of many societies, particularly rural communities, as the ex voto in the chapel of Notre Dame de Cadenet in Piégon, France. Exquisite contemporary religious art adorns the church of Saint-Hughes-de-Chartreuse, 111 oil paintings and stained glass windows by the painter Arcabas. www.saint-hughes-arcabas.fr. Church tapestries depict all Bible moments from Genesis to the Last Judgment. In the Valle de los Caidos Abbey eight wonderful tapestries depict the Apocalypse according to St. John. 18. The northwest nave of the Basilica of Saint Denis in Paris (where all but 3 of the French kings are buried) is adorned by magnificent stained-glass, especially the rose window with its metamorphosed light. Saint Denis is the patron of France, and the Basilica (begun in 1136) is the first Gothic structure ever erected. The Cathedral of Chartres in France boasts some of the largest gothic stained-glass windows as well as rose-windows, including the 13th century déambulatoire of the legend of Roland; Marc Chagall’s lively windows (1970) in the Frauenmünster in Zurich display amazing greens and yellows, not so common with Chagall. The old Benedictine Abbey of St. Pierre de Montmartre (hill of the martyrs) in Paris (1147) has very colourful modern windows by Max Ingrand (1955). The Alte Kirche Wollishofen has modern windows by Max Hunziker, particularly memorable are the depiction of King David with the harp (Psalm 103), an angel touching the strings and inspiring him, and the Creation (Psalm 145). The church of Notre-Dame de Toute Grâce on the Plateau d'Assy (1937) in the Haute Savoie has wonderful windows by Maurice Brianchon (Sainte Jeanne d'Arc, Saint Louis), Georges Rouault (Véronique, Flagellation) and Jean Bazaine (Saint Grégoire). 19. Smiling angel on the West Façade of the North Portal of the Reims Cathedral. In the main portal Archangel Gabriel smiles at Mary upon the Annunciation. 20. A particularly moving Pieta can be admired in a side altar of the Collégiale of Saint Emilion in Bordeaux, which I saw in the late afternoon light, splashed with the magic colours of the stained-glass windows. 21. St. Peter’s Basilica in Rome boasts the tallest dome in the world, rising to 132.5 m (435 ft), and was designed by Michelangelo. The largest church in the world, however, is the Basilica of Our Lady of Peace in Yamoussoukro, Côte d'Ivoire, which was modeled after St. Peters and designed deliberately larger. It was consecrated by Pope John Paul II in 1990. Its dome, however, is slightly lower than St. Peter's. 22. The Minaret (beacon) of Casablanca's Hassan II Mosque rises 210 m (689 ft.). Antoni Gaudi's Sagrada Familia in Barcelona (if it is ever finished!!!) will rise to 170 m 558 ft). Today the tallest church tower in the world is the Ulmer Münster in Germany, rising to 161.5 m (530 ft). I climbed the 768 steps back in 1972). Stephansdom in Vienna is Austria’s tallest church, rising to 137 m (449 ft). the spire of Salisbury Catheral in England rises to 123 m (404 ft). The Nieuwe Kerk in Delft rises to 108.8 m (357 ft). Wilhelmus Taciturnus (William of Orange-Nassau) is buried there. The Benedictine Abbey Santa Cruz del Valle de los Caidos, 9 km north of the Monastery of San Lorenzo del Escorial, in the Sierra de Guadarrama, northwest of Madrid, is crowned by a Cross that rises 150 meters from the base of the Cross on the top of the carved-out hill-crypte and 300 meters from the entrance of the nave of the church where Francisco Franco (1892-1975) and 40.000 soldiers of both sides of the Civil War (1936-39) are buried. 23. The Cathédrale de St. Pierre in Geneva, Switzerland, plays a happy carillon, as does the Lange Jan tower of the Nieuwe Kerk in Middelburg, Netherlands, which rises to 90.5 m (297 ft). The greatest concentration of carillons is in the Netherlands and in Belgium, with 182 and 89 respectively. 24. The colonnade surrounding St. Peter’s square in front of St. Peter’s basilica in Rome, designed by Gian Lorenzo Bernini, is an artistic and spiritual tour de force. The crypt of the 11th century romanesque Cathedral of Lund in Sweden has the most amazing columns I've seen. Heavier and marvelously authoritative is the cylindrical masonry of the Catherdal of Durham (1093). 25. Whether Ionic, Doric or Corinthian, Byzantine or Romanesque -- the capitals of church pilasters tend to be adorned by religious motives. In the Cathedral of St. Lazare in Autun (12th century) I admired a capital depicting an angel waking up the Three Kings; in the Basilica of Sainte Madeleine in Vézelay, a capital of the “mystic mill”; in the Eglise de St. Jean in Grandson, the beautiful angel capitals. 26. The seven-branch candelabrum or Menorah symbolizes the seven days of creation. The Portuguese Synagogue in Amsterdam, built by the Sephardic community in 1670 has impressive bronze chandeliers and an atmosphere of great light. Emmanuel de Witte did a famous painting of the Esnoga (1680) . The Touro Synagogue in Newport, Rhode Island is modeled after the Amsterdam Esnoga. 27. The bronze baptismal font by Renier de Huy in the church of St. Barthélemy in Liège is particularly impressive. The font in the Cathedral of Magdeburg in Germany is made of rose porphyry from a site near Assuan, Egypt. Full-immersion baptisms are usually not practiced in Catholic churches, but in Eastern Orthodox churches, usually in a body of water such as a river, a lake or the sea. 28. Light has been a sign of divinity since the days of sun-worship. Genesis tells us fiat lux, the Reformers of the 16th century demanded light after darkness: post tenebras lux. The great La Seu rose window in the Cathedral of Palma de Mallorca in the Balearic Islands is powered by a strong Mediterranean sun and throws surrealistic beams of light throughout the Cathedral --12 meters in diameter and 1,235 crystals interlaced with lead. To experience it when the sun hits it during High Mass around 11 a.m. on a Sunday is indescribable, sublime. Meanwhile in Rome, behind and above the Cattedra Petri of the Bernini high altar at St. Peter's Basilica rises a yellow alabaster window with the holy dove in its centre, representing the Holy Spirit of the Trinity. It is the most eloquent expression of the mystery that I can remember. The "oculus" of the Roman Pantheon (from the Greek: temple to all the gods) diffuses a truly celestial light into the originally pagan temple, subsequently a Catholic church, built by Marcus Agrippa 27 BC to celebrate the battle of Actium 31 BC (rebuilt by Emperor Hadrian 115 AD after a fire). It inspired the 1735 oil painting by Giovani Paolo Panini. Le Corbusier's 1955 Chapel of Notre-Dame-du-Haut at Ronchamp (near Besançon in the Franche-Comté) channels the light through small stained-glass windows that expand toward the interior of the church in magic, mysterious diffusion, a counterpart of Light Divine. Dark churches are not my thing: for instance, I cannot pray in La Madeleine in Paris. Too dark, too heavy, too pompous. 29. I was fascinated by the tympanum of the Christ at the pilgrimage Church of La Madeleine in Vézelay in Burgundy (1130), which I visited on my 60th birthday; the tympanum of Christ in Majesty in the central portal of the Cathedral of Chartres (1170), the frightful tympanum of the Last Judgment in the Cathedral of Bourges, the tympanum of the Last Judgment in the 12th century Abbey Church of Sainte-Foy in Conques (Aveyron), on the route of St. Jacques, the tympanum of the Benedictine Abbey of Saint-Ursanne near Basel (12nth century), the Death of the Virgin tympanum on the south transept portal of the Strasbourg Cathedral (1220). For my 60th I also went to see the Last Judgment tympanum (1135) of the Cathedral of St. Lazare in Autun, Bourgogne. 30. Guido (992-1050), a Benedictine monk born in Arezzo, Italy, invented musical notation in 1025 (Micrologus de disciplina artis musicae). Before him, monks only made little signs, dots and lines on top of the words in prayer books (neumes) in order to intone them, but musical composition in permanent scores was not yet possible. Guido followed the Church order to preserve Gregorian chant by devising a method to write down music in a permanent score. 
31. Without the musical notation system invented by Guido of Arezzo, it would not have been possible to preserve the musical heritage of the Church, including Gregorian chant. Nor would it have been possible for Martini, Pergolesi, Palestrina, Vivaldi, Bach, Haydn, Mozart, Beethoven, Schubert, Brahms, Berlioz, Dvorak, Fauré, Bruckner, Verdi, Rutter to compose any Gloria, Te Deum, Magnificat, Stabat Mater, Missa Solemnis or Requiem, or for César Franck to eternalize his Panis Angelicus. Nor would the glorious and invigorating gospel music have ever been written down. 32. Garrels Organ in the Grote Kerk of Maassluis, inaugurated in 1732, suffered in World War II under allied air bombing, but it is fully restored. The Domorgel in the Passau Cathedral is the biggest in Europe. The organ goes back to Pan's pipe (an instrument consisting of several pipes of differing length tied together in a row) and was developed in Alexandria, Egypt, 300 B.C. by Ctesibius, consisting of pipes and a blowing apparatus. 33. lat. claustrum, the covered galleries of Catholic monasteries. I particularly love the cloister of Jeronimos monastery in Lisbon, and the Metropolitan Museum of Art's Manhattan Cloisters (in Fort Tyron Park on the Hudson), partly transported from St. Michel de Cuxa, in the Pyrenees, France. The Cistercian Cloister of Fontenay in France (built 1119) is a UNESCO heritage site. 34. The ruins of churches, monasteries and abbeys have inspired many artists like Caspar David Friedrich, whose Abtei im Eichwald (1809) and Klosterruine Eldena bei Greifswald (1824) can be admired at the Nationalgalerie in Berlin. The Lutheran Frauenkirche in Dresden was immortalized by Canaletto’s 18th century painting of the Dresden skyline on the River Elbe. On 13/14 February 1945 air bombardment destroyed it, leaving scant ruins. In October 2005 the reconstructed Frauenkirche was again consecrated. 35. Cicero, Philippicae, 12, 2, 5. 36. The racketeering practice of selling indulgences led to the protest (hence "Protestantism") of the Augustinian Monk Martin Luther, who nailed his 95 Theses on the Church door of Wittenberg on 31 October 1517. The German Dominican preacher Johann Tetzel would go around saying: "As soon as a coin in the coffer rings / the soul from purgatory springs." Notwithstanding this scandalous practice, abusus non tollit usum (abuse does not render normal use impossible). 37. There was a Roman and a Spanish Inquisition. Both were administered by the Dominican order. Out of 62,000 cases judged by the Inquisition in Italy, only 2% ended with the death sentence, since the purpose of the procedure was to persuade the "heretic" to recant. Whereas Giordano Bruno was executed in 1600, Galileo Galilei recanted (1632). The Spanish Inquisition was made eternally infamous by the Great Inquisitor Torquemada, under whom as many as 2,000 persons met their death. From the extant 44,674 judgements, it appears that there were 826 subsequent executions in persona and 778 in effigie. The rest received milder punishments. 38. Over a period of 3 centuries witch hunts occurred all over Europe and in the Americas. It is estimated that as many as 100,000 male "sorcerers" and female "witches" were burned or hanged in Europe, and some 150 persons arrested and twenty hanged for witchcraft in the United States, including Salem, Massachusetts (1692-93). Many other "witches" were hunted and killed by spontaneous mob-action or purges. Even secular authors believed in witches, including Jean Bodin (1520-1596) whose Démonomanie des Sorciers aimed to demonstrate the existence or sorcerers and the legality of their condemnation. 39. In 1095 Pope Urban II called the first of nine Crusades to reconquer Jerusalem from Islam. The ninth crusade ended in failure in 1291 with the fall of Antioch, Tripoli and Acre. There were also Crusades in Northern Europe against the Baltic peoples, in the Langue-d'Oc provinces in Southern France against the Cathars, and the Reconquista in Spain, which ended with the conquest of Granada and the expulsion of the Moors from Andalucía (Al-Aldalus) in 1492. 40. The Thirty-Years' War (1618-1648) caused an estimated 11.5 million deaths. 41. There have been many schisms in Christianity, notably the Great Schism between the Catholic Pope in Rome and the Eastern Orthodox Patriarch in Constantinople in the 11th century and the Western schism of 1378 to 1417 with three competing popes. This latter schism was ended at the Council of Constance in 1414-18. 42. Urbi et orbi. 43. Albrecht Dürer’s Praying Hands (1508) at the Germanisches Nationalmuseum in Nürnberg. tải về 0.81 Mb. Chia sẻ với bạn bè của bạn:
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