EWTN's Register Radio Today

The National Catholic Register asked me to write an article about how Christmas was banned in England and in the English American Colonies, and so I did:

The English Victorian Christmas is an ideal: the glowing Christmas tree, the carols, figgy pudding, Christmas goose or turkey, special charity for the poor, and the holly and the ivy. Then there’s the more extended English medieval Christmas: wassail, the Yule log and the festive Twelve Days of Christmas until the feast of the Epiphany. There’s a mixture of English, Welsh, German and French traditions in these images.

Even if we have to face the ghosts of Christmases past (or present and future), we want that perfect celebration of family and faith. Between the medieval era and the Victorian, however, the very idea of celebrating the birth of Our Savior with feasting and revelry was banned in 17th-century England. Every December was like Narnia because, although it was winter and it might be cold and snowy, there was no Christmas.

I manage to work in Charles Dickens, A Christmas Carol, Louisa May Alcott, Little Women, Ulysses S. Grant, and all the trappings of Christmas--it should be in the next print edition.

Then they asked me to appear on a segment of EWTN's Register Radio, and so I did. It will be broadcast this evening at 6:00 Central and repeated on Sunday at 10:00 a.m. Central. The broadcast will be archived here.

Just A Week Before Lent

Just a week before Lent and The National Catholic Register has posted my latest blog, in which I discuss Muriel Spark's Memento Mori and St. Thomas More in the Tower:

Muriel Spark was a convert to Catholicism from Scottish Presbyterianism and started writing novels after joining the Church. Her most famous novel is The Prime of Miss Jean Brodie, made into an award-winning movie in 1969. (Remember “Jean” sung by Rod McKuen?) Memento Mori, however, was Spark’s first great success as a novelist.

The characters in the novel, all in their seventies, begin to receive phone calls with the brief message: “Remember you must die”. Memento Mori. They each respond to this statement differently: with fear, anger, resignation, even acceptance. The plot of the novel is the investigation into who is making the calls; the theme of the novel is old age and death. Dame Lettie Colston reacts with increasing paranoia, disconnecting her phone and secluding herself in her home. She rejects the advice of a Catholic convert, Jean Taylor, who is confined to her bed in a nursing home: "It is difficult for people of advanced years to start remembering they must die," she says. "It is best to form the habit while young." Through the depiction of several characters in her novel, Sparks makes clear that the virtues and vices of youth stay with us as we age. We don’t become angels just because we get older; we have to work at becoming saints through God’s grace at every age.

And St. Thomas More in the Tower:

Just a few years ago, I began to study St. Thomas More’s “Tower Works”, especially the spiritual treatises and meditations he wrote about Our Lord’s Agony in the Garden (The Sadness of Christ) and His Passion and Death. Thomas More had been forced into his retirement home: the Tower of London. He knew that he would never leave the Tower alive. He had always prepared for a happy and holy death by trying to live a happy and holy life.

As Thomas Cromwell and others tried to convince him to take the Oath that Henry VIII demanded after he broke away from the universal Catholic Church and the Vicar of Christ, they also tried to get him to say why he would not take the oath. He protested that he was beyond that now: “I had fully determined with myself, neither to study nor to meddle with any matter of this world, but that my whole study should be upon the passion of Christ and mine own passage out of this world.” When they reminded him that his monarch had the power of life and death over him, More replied: “And I am dying already, and have since I came here, been divers times in the case that I thought to die within one hour, and I thank our Lord I was never sorry for it, but rather sorry when I saw the pang passed. And therefore my poor body is at the King’s pleasure, would God my death might do him good.”

Please read the rest there and share if you like! It's gratifying to a writer to see the number of shares one of the blog posts get!

And if you missed the Register Radio episode during which I talked about "Septuagesima, Shrovetide, and Pancakes", it's available here.

EWTN's Register Radio

I recorded an interview with Jeanette DeMelo and Matthew Bunson for EWTN's Register Radio yesterday which will air this weekend on EWTN Radio (Saturday at 6:00 p.m. Central and Sunday at 10:00 a.m. Central)--and will also be linked on the National Catholic Register home page.

We discussed my latest blog post for the Register: "Septuagesima, Shrovetide, and Pancakes":

The Super Bowl is over and the next great commercial social event is St. Valentine’s Day, but Easter candy is already sharing shelf space with Valentine’s candy in our stories. We are in a transitional time in our liturgical year too. Last Christmas seems a long time ago.

Before the reform of the liturgical calendar in late 1960’s, there was a name for this transitional time: Septuagesima. For three Sundays, the Church adopted a pre-Lenten period and in parishes where the Extraordinary Form is celebrated today, those Sundays are observed. The priest wears violet vestments, the Gloria is omitted, and the Tract replaces the Alleluia before the Gospel. The loss of the Alleluia, as the liturgical scholar Dom Gueranger explains, reminds us of our situation: “During the rest of the year [the Church] loves to hear us chant the song of heaven, the sweet Alleluia; but now, she bids us close our lips to this word of joy, because we are in Babylon . . . We are sinners, and have but too often held fellowship with the world of God's enemies; let us become purified by repentance . . .”

I like the image the Register chose for the post: Pieter Aertsen's "The Pancake Bakery" which depicts a family preparing Shrovetide pancakes for sale. According to the Rijkmuseum:

Although Pieter Aertsen (1508-1575), known as ‘Lange Pier’, came from Amsterdam, he lived in Antwerp for many years. After he returned in 1556, various Amsterdam churches, his principal patrons, commissioned Aertsen to make large altarpieces. Soon, however, he abandoned religious art and started to paint scenes from peasant life. He was known above all for his paintings of market scenes and kitchen tableaux, which contained an abundance of fruit, fish, poultry, cheese, bread and much besides. His younger cousin and pupil Joachim Bueckelaer also painted in the same genre and developed it further.

The Wikipedia article on this artist, however, provides greater context to his career:

Later in life, he also painted more conventional treatments of religious subjects, now mostly lost as during the iconoclasm of the beeldenstorm several paintings that had been commissioned for Catholic churches were destroyed. Several of his best works, including altarpieces in various churches in Amsterdam, were also destroyed during the days surrounding the event known as the Alteratie, or "Changeover", when Amsterdam formally reverted to Protestantism from Catholicism on 26 May 1578 at the start of the Eighty Years' War. One surviving religious work is the Crucifixion in the Royal Museum of Fine Arts Antwerp.

Aertsen was a member of Antwerp's equivalent of the Accademia di San Luca. In the official books of the Academy he is known as "Langhe Peter, schilder" (Tall Peter, painter). His sons Pieter, Aert, and Dirk became acclaimed painters, and other notable pupils trained in his workshop included Stradanus and Aertsen's nephew, Joachim Beuckelaer, who continued to develop Aertsen's formula.

Aersten's exact formula of still life and genre figures in the foreground, with small scenes from history painting in the background only persisted for the next generation (or two, as Joachim Wtewael painted some similar works), but history paintings with very prominent and profuse still life elements in the foreground were produced by Rubens and his generation, and in the 17th century both Flemish Baroque painting and Dutch Golden Age painting developed important genres of independent still life subjects, which were just occasionally produced in Aertsen's day.