Symbols & Turning One’s Back

First, a digression or prologue: Here are some descriptions of modern art as proposed by their creators, gleaned off the interwebs:

The picture shows how unhappy people which, is dependent on consumption, and as he turns into a cripple.

The painting shows the influence of television on the number of things we purchase.

Pity draws this exercise to a premature close. The artists themselves seem to be charmingly innocent, just trying to do what they’ve been told to do, and I don’t want to just pick on people. Simply, one could never tell, prior to the explanation, what, if anything, the artwork was supposed to ‘show’. It would be cruel, perhaps, to mix and match descriptions to artwork and see if anyone other than the artist could tell the difference.

Key point: great art doesn’t require a program to appreciate it, only, at most, a common cultural background with the artists. You have failed as an artist if you need to tell people what your work ‘shows’.

Let us pick on more deserving targets. Returning to the well one more time, here are snippets from what might be called the program that explains the cathedral in Los Angeles, from its website, with some commentary.

Spanish architect, Professor José Rafael Moneo has designed a dynamic, contemporary Cathedral with virtually no right angles. This geometry contributes to the Cathedral’s feeling of mystery and its aura of majesty.

We are being told here that the proper feeling to have when viewing this:

LA Cathedral

…is “mystery and its aura of majesty.”

Well. For comparison, I choose from among any of the thousands of great Catholic cathedrals that have been loved for generations:

Image result for siena cathedral

Does the degree to which you feel the “mystery and its aura of majesty” looking at the Duomo in Siena just like the feeling you get looking at the L.A. Cathedral? In any way similar? (Spoiler – having stood in about the spots each of these pictures were taken: no, the feelz are not similar. While the pictures in each case greatly tone down the effects, they do accurately engender them.)

Let’s pop inside: LA Cathedral Interior

Siena

In the first picture, the lack of right angles is supposed to contribute to our feelings of mystery and majesty. In the second, I think maybe it’s the awe-inspiring beauty that gets that done.

 

The challenge in designing and building a new Cathedral Church was to make certain that it reflected the diversity of all people.

Really? Who says? A small ‘c’ catholic church building should rather emphasize unity, maybe?

Rather than duplicate traditional designs of the Middle Ages in Europe, the Cathedral is a new and vibrant expression of the 21st century Catholic peoples of Los Angeles.

None of whom were consulted nor approved of this design. Just saying.

“I wanted both a public space,” said Moneo, “and something else, what it is that people seek when they go to church.” To the architect, the logic of these two competing interests suggested, first of all, a series of “buffering, intermediating spaces” — plazas, staircases, colonnades, and an unorthodox entry.

Um, what? Setting aside the weird circumlocution beginning with ‘something else’ that clumsily avoids talking about God and salvation, there’s an ancient tradition of providing transition from the external to internal worlds. Note, for example, the lovely piazza in front of the Siena Duomo leading to steps and awesome huge doors. It’s perfectly clear as you assend the steps from the piazza and approach those doors that you are moving from the public to the sacred. With its steps, levels, plaza, long confusing ambulatory, the L.A. Cathedral merely awkwardly overdoes it.

The Cathedral is built with architectural concrete in a color reminiscent of the sun-baked adobe walls of the California Missions and is designed to last 500 years.

…which adobe was always whitewashed, often painted, and adorned to the fullest extent the people could manage. That ‘designed to last 500 years’ always seemed like a threat, but maybe that’s just me…

The Cathedral’s interior design captures the principle of a spiritual journey.

The painful and unsettling part? Chesterton talks about how Catholic art favors the gentle, suffering Jesus over the ‘Woe and Temple-cleansing’ Jesus because gentle Jesus is easier to approach in prayer. I guess we modern Catholics are tougher than that!

Unlike most Cathedrals, we are not entering through a rear door near the last pews. Rather, we enter the ambulatory which circles the interior of the Cathedral.

This gets to the entire point of this preamble: one would never suspect there was anything wrong or lacking in the approach and entrance to a traditional cathedral unless he were *told* there was something lacking. To recap: one enters a traditional cathedral typically by crossing a plaza to ascend steps, passing through massive doors and under a tympanum which usually depicts the Last Judgement, entering into an awe-inspiring nave, flanked by lines of columns leading to and focusing attention on the high altar. Many, many people over the centuries have commented on exactly how moving that experience can be.

But not in L.A.! Here, we need to be told that we’ve been missing something, and told we should love and prefer a meandering, pointless, artificially long entrance.

Our betters will tell us what to think. If we don’t like it, well, that just demonstrates why they are our betters!

The ambulatory urges us forward, on a slight incline, heightening our sense of an upward journey, past various devotional chapels that open onto the walkway, not onto the Cathedral’s worship space, allowing a more meditative environment for devotional prayer.

The light and diversity of shapes draws people forward along the ambulatory and around the corner to the Baptistery and the enormous public worship space.

Hey! ‘Enormous’ used correctly in its original sense!  Also, note ‘worship space’. Not a church or even a nave, a ‘worship space’. OK, enough of this.

Artist statements we love

When I first began this blog, I wrote a number of items on symbols versus signs. The key distinction: symbols have meaning that does not need to be explained, or, at worst, once explained ‘clicks’ – the church uses red symbolically on the feasts of the Martyrs. Any questions?

Signs, on the other hand, will sometimes employ symbolism, but are more conventional in their meaning. Stop signs are traditionally red, but that they mean ‘stop’ is conventional. Red is a good color for this, but not necessary to get the point across. Blood, and therefore martyrdom, and red are connected in a way that stopping and red are not.

Signs can be made much more powerful by the artful use of symbols. In the old days, banks, which engage in the most abstract and ephemeral of businesses, made their buildings out of stone, as a sign of permanence. Good use of the natural symbolic content of stone – hard, enduring, not going anywhere – to communicate what they wanted to communicate – See? We’re not the fly-by-night operation you might reasonably suspect us of being! Solid as a rock, you might even say.

Gestures can also be symbolic, having meaning independent of social convention. Bowing and kneeling are gestures your dog understands. This doesn’t have to be the case – shaking your head for no and nodding for yes are, I hear, conventional. But I will contend that there is a large range of human gestures the meanings of which are not conventional, or at least have a core meaning conventions hang off of.

The whole preamble of this essay was intended to show how we, in the modern age, often try to gloss over with words of explanation the symbolic content or lack thereof of art, gestures, and actions in general. The L.A. Cathedral is known as the Taj Mahoney, because many people saw right through the pretend taking of input and invocation of diversity as attempting to veil what was essentially a $200M+ exercise in hubris. Both symbols and signs were involved in getting this project through – mitered cardinals in long processions, masses, blessings – but a key was blowing smoke, smoke illustrated in the snippets quoted above. What you see is not what you see – we will tell you what you see.

All this ramble was occasioned by an observation at mass yesterday. One universal symbol, a gesture that, again, your dog understands, is turning you back. Your dog knows that you are withholding approval or showing disapproval when you turn away from him. By dozens of gestures, we turn our backs on the Eucharist both literally and figuratively. As a symbol, this gesture has its meaning and emotional effect regardless of the words – the artistic program – used to explain why that’s not what it means. What you see is not what you see – we will tell you what you see.

This turning has been ritualized to the point where failure to comply makes one stand out, so very few people, even among those who understand what’s happening on some level, will buck the behaviors.

Before I go on, let me say that there are more or less reasonable reasons for many of these gestures. Taken separately, each might be OK in the sense that there is at least a sound theological or practical debate possible on the topic. Taken together, however, and it’s clear the goal is to change theology, or to express a theology already changed.

Let me count the ways:

  • Churches renovated so that it is all but impossible for some portion of the congregation not to stand with their backs to the tabernacle. Maybe it’s the choir, or maybe it’s some pews positioned so that the altar is surrounded. Either way, everybody gets the clear message that the tabernacle, and by necessary and inescapable logic, what is in the tabernacle, is not only not important, but is being actively shunned.
  • Versum Populum. This might be the number one case in point for where there are good historical and theological reasons. The Church has done this off and on over the centuries. But how it was implemented – I’ve heard stories about centuries old altars being jack-hammered because they were too close to the wall to allow the priest to face the people – shows inescapable contempt for history and craftsmanship (I’ve yet to see a new ‘table’ half as beautifully done as many old altars). And you’ve turned your back on the tabernacle, if it hasn’t been consigned to the outer darkness.

These are the most literal and obvious cases of turning your back. Other similar issues:

  • Bowing instead of genuflecting when passing in front of the tabernacle. Again, can be non-stupid reasons. Taken with everything else…
  • Communion received standing in the hand, instead of kneeling on the tongue. Sure, reasons, but since we’ve turned our backs on the Real Presence, traipsed back and forth across the sanctuary like a living room and otherwise worked to actively destroy any sense that this moment is sacred – well, is it sacred? What does sacred even mean?
  • General loss of the distinction of vulgar versus sacred space. Inside the church, a building made sacred by the Real Presence, should be fundamentally and patently difference from the space outside. Is it?

Anyway, I find myself more in favor of any gesture that marks the Mass and the physical church it is celebrated in as sacred. We are a people set apart. High time we started acting like it.

 

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Mission Church/Checking In

Been busy and a bit under the weather. Checking back in.

Today, the Concord Queen of All Saints Feast and Faith group took a field trip to Mission Dolores in San Francisco for Mass, a tour of the old adobe mission chapel and lunch. There were 13 of us. It was fun and educational, and it’s always a blessing to be able to say a few prayers in a church you are visiting.

Mision San Francisco de Assis was the sixth mission founded by St. Junipero Serra. In October 9, 1776, the official documents arrived establishing the mission, but Mass had already been celebrated at the site on June 29, so, in a sense, the mission is 5 days older than America. From a very early date, the Mission was called Mission Dolores after an adjacent creek named Arroyo de Nuestra Señora de los Dolores. I imagine St. Francis would be amused by this, and wholeheartedly approve.

Originally, the mission comprised a fairly vast area, with 10,000 head of cattle, 10,000 sheep, many horses, etc., as well as workshops, farms and gardens. In a very real sense, it was San Francisco. Several thousand native Americans lived and worked there. Following Mexican independence, in 1834 the missions were ‘secularized’ meaning, in effect, that all their lands except that upon which stood the church buildings and cemeteries were seized by the Mexican government and given to private citizens. This impoverished the mission and lead to a decades long decline. By 1842, only a few Indians lived at the mission, and what remained of the building fell into serious disrepair.

Mission Dolores in the early 1850's in San Francisco.
By the 1850s, it looked like this. 

Then statehood and the Gold Rush brought a flood of people to the Bay, including many Irish and other Catholics. A new parish church in a Gothic Revival style was built adjacent to the old mission chapel to handle the crowds. The old adobe was clad in clapboard, for both aesthetic (it was looking pretty ratty, as the above picture illustrates) and protective reasons.

The 1906 earthquake destroyed the large brick church but left the adobe intact and largely undamaged. In the following dozen years, a new Mission revival style church was built to replace the destroyed brick church and the old mission was carefully restored. Today, the majority of parish activities take place in the new (only 100 years old!) Basilica, while the old chapel is used for one mass a week and is otherwise mostly a tourist attraction. But they do a very respectful job.

A cemetery used to occupy acres around the old church, with about 11,000 people buried there from the 1790s up into the late 1800s. As the streets were put through and land became more dear, the cemetery shrank and the remains moved until, today, only a tiny plot on the south side of the old mission chapel remains. A quick look at the tombstones that remain reveals many names that now grace San Francisco streets and landmarks.

Also adding to the holiness of the place: two saints (at least) have prayed there: St. Junipero Serra celebrated mass while it was under construction, and Pope St. John Paul the Great stopped by to pray when he visited San Francisco.

IMG_5124
The reredos and sanctuary. Note the ceiling, painted in a pattern used by the Ohlone in their basket weaving. 
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Top center: St. Michael guards the place. As well he should. 

Finally, we went to lunch at the Kitchen Story just up the street on 16th. Highly recommended.

 

Update of the Random Sort

Last night, the lovely Mrs. YardsaleoftheMind and I went out for dinner. This is not all that remarkable in and of itself, but there’s a story:

A few months ago, we arranged an anniversary getaway to a cabin at Elim Grove attached to Raymond’s Bakery, in Cazadero near where the Russian River enters the Pacific. We highly recommend it if you find yourself looking for a B&B among the redwoods only a couple hours from San Francisco. Our dear son thought he’d send us out to dinner, so he searched for nearby restaurants, and set us up with reservations at El Paseo in Mill Valley

This was a lovely and kind thought. However, while Mill Valley is not all that far from Cazadero as the crow flies, it’s over an hour away as the car drives. Our dear son, who has not driven that area, would not know this.

I did not check this out before we left. So, after having driven the couple hours up to the cabin, we find out there’s no practical way to make it back down to Mill Valley that evening for dinner. We had to postpone it. Until yesterday evening.

The 40 mile drive from Concord to Mill Valley takes anywhere from just under an hour to an hour and a half or more depending on traffic. Bay Area traffic can be and often is evil, so we left in plenty of time to spare. And got there in a little over an hour.

With time to kill, we walked around beautiful, quaint and well-moneyed Mill Valley, a old city nestled in the Marin hills, beloved by hippies, former hippies and would-be hippies with money. That odd and frankly crazy blend of wealth and counter-culture that characterizes much of California’s self image is nowhere better expressed than here. Just as the hippies aged into the Greed is Good crowd on Wall Street in the 80s while somehow still imagining that they were not The Man to whom they had lately imagined they were sticking it, elderly boomers with millions grab will grab an organic frozen yogurt here and browse the boutiques for natural hemp clothing and handmade South American art. Their high priced lawyers will be engaged to sue to prevent some other resident’s latest act of architectural self-expression interfering with the view. And so on, after the manner of their kind. But it sure is beautiful and quaint – great place to stoll and grab dinner!

As we headed up Blythe (one of the main drags) we spotted an enormous, ugly church, which I immediately would have bet money on being Catholic. Sadly, I was right.

This picture of Our Lady of Mt. Carmel is very flattering. Built in 1968. The 60s live in Mill Valley in many ways.

The Lord’s ways are not our ways, it is always good to keep in mind. We walked up and tried the door – locked. As we walked around the building, we tried the various side doors. Finally, on the far left, the last door was open! We went inside to look around.

One woman knelt in the middle section of pews, but otherwise the church was empty. Coming in at a weird angle far off to one side, it took me a minute to notice the monstrance atop the tabernacle – Adoration was in progress! All the sudden, that became a very beautiful church!

We knelt and prayed for a bit, then took a look around. I walked past the lady in the pews, who smiled and whispered, asking how I knew Adoration was being held – I told her we didn’t know, just lucked into it. She said they were doing an all night Adoration.

As we left, another woman was arriving. God bless them – and I’m sure He does! – for being there for Him. How beautiful that these parishioners keep this devotion.

As we headed out, I noticed the epiphany chalk inscription above the door of what appeared to be the rectory. Cool! So, whatever the architectural and artistic limitation, the people at Our Lady of Mt. Carmel seem intent on keeping the faith. God bless them all!

We descended down to our dinner. El Paseo is heavy on the quaint in keeping with Mill Valley city ordinances no doubt, set back from the street accessible via a brick passage and pateo and ensconced in an old brick building. Sammy Hagar, who you might have heard of and who fits in marvelously with the overall 60s sort of vibe of Mill Valley, bought and renovated the restaurant some years ago. I honored him by refusing to drive 55 on our way there and back.

All in all, a lovely evening was had by my beloved and me. The food and service were excellent, and Mill Valley is still beautiful. Our son’s kind deed was finally realized.

Another Tale of Two Churches

Went to SoCal over the weekend to see Elder Daughter in a play. (She’s about to graduate from an acting conservatory she’s been in for 2 years now.) So we caught a Saturday morning Mass in Santa Clarita at St. Kateri Tekakwitha’s and a Pentecost Sunday Mass at the Thomas Aquinas College Chapel. Both Masses were of course efficacious and a privilege to attend.

Both churches were built around the same time. St. Kateri:

On Friday, September 4, 2009, Blessed Kateri Church and the Administration Building were blessed and dedicated by Cardinal Mahony. Families began celebrating Masses in the new church on September 26, 2009. The original building became Kateri Faith Center, and the former Worship Area became Slattery Hall.

Our Lady of the Most Holy Trinity Chapel:

After a dozen years of planning, thousands of contributions from generous benefactors, and more than three years of construction, Our Lady of the Most Holy Trinity Chapel was dedicated on March 7, 2009.

Both churches show fairly high construction standards, although the TAC chapel’s are higher, with much polished stone and obvious care lavished on detail. St. Kateri is not slapdash by any means, but does show less, how to say? Self awareness.

Arcade View
Our Lady of the Most Holy Trinity Chapel, exterior.
Interior of Our Lady of the Most Holy Trinity Chapel
Our Lady of the Most Holy Trinity Chapel, interior.
Image result for st. kateri church santa clarita ca
St. Kateri, exterior.
Related image
St. Kateri, interior.

Is the difference money? Did TAC simply spend vastly more? I don’t know the numbers for St. Kateri, but I’d bet it’s nothing like an order of magnitude less than the $23M spent to build the TAC chapel. I’d guess somewhere in the $5-10M range, but what do I know about such things? (1) What’s different is the vision of what a church is supposed to be. Duncan Stroik, who designed the TAC Chapel, shared a vision with the College of what a church building is supposed to be. The designers of St. Kateri evidently shared an idea of what a ‘gathering space’ is supposed to be with the designers of game show and talk show sets. Or maybe to be a little more fair, convention halls.

It’s the sheer cluelessness of the place that was most striking. For example, I sure hope that thing with that guy nailed to it doesn’t interfere with the sound system. Would hate for the acoustics to suffer:

speakers and cross
Somebody looked at these massive overstated speaker stacks hanging above the altar, clashing with everything else, dwarfing the Crucifix, and thought – that looks great! Out of the frame is a bandstand complete with a glassed-in drummer’s box. Priorities are clear.

Now, we didn’t get to attend a big Feast Day Mass at St. Kateri’s, but, based on the sound system’s prominence and a band/choir area bigger than the sanctuary, I fear I can guess what it would be like. At TAC, their incredible chant/polyphony choir – or  as much of it is around during Summer break – filled the chapel with angelic, unamplified voices singing beautiful, timeless music. Sadly, the TAC choir could probably not have been heard over a jet engine at 100 paces – something I’m confident the musicians at St. Kateri’s with their array of technology could deal with. But I don’t know, a Saturday morning Mass did not require that particular Kraken to be released.

Both buildings use much nice stone and wood; one is a timeless yet warm church, loved by all; the other doesn’t know what it is, and is only loved by its figurative mothers. If the TAC chapel had been burned down in the late fires, there would have been mass mourning, and funds would have been raised quickly to rebuild it. If, God forbid, St. Kateri’s were lost to fire, some people would be sad, sure, but devastated? Would they insist it get rebuilt just like it was, as a link to their posterity and, indeed, heaven?

I doubt it.

  1. Here’s an article talking about costs to build churches. Based on the numbers they are throwing around, and this being California within commute distance of LA, and St. Kateri’s being a pretty big church, that $10M guess is starting to look tame. Probably safe to say that if one went tile instead of marble and maybe scaled back on the fixtures, toned down the stone capitals and arches a bit, the people of St. Kateri’s could have had something like the TAC chapel for the money they spent on what they got. That this probably never occurred to anyone involved (not that Mahoney wouldn’t have shot it down if it had – see: LA’s new Cathedral he built) is the real problem at this point. Meanwhile, the little old ladies and people who have traveled some and those who take their faith seriously would have probably voted overwhelmingly for something more traditional. But we’ll never know, and they (we) don’t get a vote.

The Good Shepherd

Image result for good shepherdYesterday’s Gospel reading was the Good Shepherd passage from John 10:

Jesus said:
“I am the good shepherd.
A good shepherd lays down his life for the sheep.
A hired man, who is not a shepherd
and whose sheep are not his own,
sees a wolf coming and leaves the sheep and runs away,
and the wolf catches and scatters them.
This is because he works for pay and has no concern for the sheep.
I am the good shepherd,
and I know mine and mine know me,
just as the Father knows me and I know the Father;
and I will lay down my life for the sheep.
I have other sheep that do not belong to this fold.
These also I must lead, and they will hear my voice,
and there will be one flock, one shepherd.
This is why the Father loves me,
because I lay down my life in order to take it up again.
No one takes it from me, but I lay it down on my own.
I have power to lay it down, and power to take it up again.
This command I have received from my Father.”

The priest pointed out in his homily how, to Jews who all knew the Psalms, this claim was Jesus setting Himself up as the equal to the Father – the Lord is my Shepherd, as they all knew. This is precisely the point John (and Jesus!) is making: John’s Gospel starts by saying the Word is with God and the Word is God on the first page, and ends with Thomas declaring ‘My Lord and my God!’  near the end.

So that’s is well. One more thing to point out, that no doubt has been pointed out a million times but just not to me: In the first chapter of John, John the Baptist declares: “Behold the Lamb of God!” when Jesus walks by. So Jesus is both the Shepherd and the Lamb. Finally, Jesus says to love one another as I have loved you.

In this reading, it is the shepherd’s willingness to die for his sheep that is distinctive. In the Psalms, the Good Shepherd is unchallenged – He is perfect protection and comfort for the sheep. It is new thing to suggest that the Lord would die for them.

The Crucifixion is always recognized as the supreme act of Jesus’s love for us.

Image result for Lamb of God

So: atheists sometimes quip that Christians forget what a shepherd’s job is – to look after the sheep so that they might, eventually, be slaughtered and eaten. In this one sense, they are right: Jesus, as the Master Whose example his students are to follow,  as the Lamb of God, is shepherding us to a sacrificial life and death. We become, in imitation of Him, lambs led to the slaughter. We become, if we follow truly, the Pascal Lamb, Whose death frees Israel from slavery, Whose blood on the doorposts fends off death and Whose flesh feeds the former slaves for their journey. We are shepherded to die to ourselves and live only in Him, and to become the Body of Christ.

Probably this is old hat to more attentive Catholics. But I’ve never heard the Lamb and the Shepherd discussed together in this way.

Be the Wall & Weekend Bullet Points

1. Be the Wall. Many years ago, my beloved and I attended a few child rearing classes, from which the one thing I remember was the stern admonition to Be the Wall. Kids are going to want to test their ideas and your limits. If they get all emotional and vehement, interpret that to mean they trust you, their mother and father, enough to risk real exposure. This works from toddlerhood all the way to adulthood, and is in no way contradictory to being loving, supportive and gentle. Kids need to push to grow up, and pushing against people they love and trust, and who they know will love and trust them back even if – especially if! – the answer is ‘no’ is the best way for them to learn self control, self respect, and how to stand firm themselves.

So, parents must be the wall, neither giving an inch nor overreacting to the pushing. Not always easy, but necessary. A key part: knowing what you stand for, knowing the places you will not give. These should be few, and consistent. Everything else should be negotiable. With any luck, children so raised will be able to carry these lessons out into the world, and distinguish between principles and necessary rules, and things that can be negotiated. They will be able to behave as adults.

Image result for wall falling downWe live in a world of feral children – of all ages. They have pushed, and found no wall. Many times found no mother or father. They pushed, and one time, the wall fell with hardly a breeze; the next time, it pushed back violently. They pushed and pushed, and ended up in the streets, looking for something, anything, that will push back.

Thinks that should have been learned in the privacy of family life and that can only be learned in family life are now lacking in public life. Our feral children find no walls. The drive to push is unsatisfied and unabated.

2. Fight the Urge to Dirge. Ye Sons and Daughters is one fine Easter song, great tune, tells the story in a charming, memorable way. Only one problem: for some inexplicable reason, choir directors seem almost universally to take what should be something like a bouncy waltz, tempo and feel wise, and turn it into something more like a funeral processional. With a bit a vim, the song is catchy and easy; plodding, it is just another forgettable church song.

You can imagine what brought about these thoughts. We did do some glorious Easter hymns yesterday as well. But it hurts to see such a charming tune done so – bleech.

3. White Sunday/Mercy Sunday Pizza bash! Invited all sorts of Catholics with whom it is meet and just to be celebrating the end of the Easter Octave over – had maybe 30 adults and a dozen or more kids (many of whom wanted to make their own pizzas, which we did – maybe made 20 pizzas in all). Kept it going from 2:30 until after 9. A lot of fun.

Two thoughts, and if you have any suggestions, I’m all ears: when inviting people to something like this, it is customary for them to ask ‘what can we bring? aaaand customary for me (who tends to be the major cook for these things) to say ‘nothing’ or ‘something to drink’ – because trying to manage who brings what is just more trouble than it’s worth, But: people want to bring something, at least, I know I do when the roles (and, possibly, rolls) are reversed. So, this time, due to the large and uncertain numbers of people, I said: we’ll be providing main courses, you needn’t bring anything, but you can if you want.

So, yesterday, at 10:00 at night, I’m packing away A LOT of food. We ran through the pizza stuff, sure, but I made a vat of guacamole and about 8-9 lbs of pastrami with ciabatta rolls and fixings to match and – lots of stuff. But lovely and generous people also brought lots of delicious things, much of which got left. Into the freeze went pastrami, a couple chickens, a couple dozen ciabatta rolls. The fridge and a couple coolers are packed with salads and vegetables; my wife made delicious pashka and kulich – which got lost in a sea of wonderful desserts. So, into the freezer or coolers it goes.

There are only 4 to 6 of us at home (it varies because – story). I hate throwing food, especially really good food, out, so now I’m looking for homes for at least some of the more perishable stuff. Work, school, neighbors are all likely to get some nice gifts – but this becomes another task on top of set up, food prep and clean up.

I also hate telling people how to be generous and all the planning it takes to be able to say: no, we have enough salads, how about a dessert or some wine? Or whatever.

Thoughts?

Finally think I’m getting the hang of the brick oven. The usual advice is that each oven is different, you just have to use it and see what works. What works for this oven: at least a two-hour burn before you start cooking. Three hours is better, although this probably had something to do with all the rain making the whole oven a little damp. Then: just keep it going – at least 2 or three logs burning at the back in addition to all the hot coals while you cook. By the end, we were popping pizzas in and out in 2-3 minutes each. And they were excellent.

If I ever build another brick oven, please shoot me. I mean, I’ll make it more massive and better insulated. Also, getting the hang of Naples-style pizza dough, which you make a few days in advance and let chill until a few hours before you’ll be using it – slightly sour taste, excellent stretchy texture for making those lovely thin-crust pizzas that work so well in a brick oven. (I honestly cringed a little when the kids were manhandling those beautiful dough balls on the way to making cheese and olive or pepperoni over store-bought sauce pizzas – but that’s what they were there for! Deep breath. I do love kids more than cooking. Really. And they had a blast.)

Great fun. Looking forward to doing it again next year.

4. Finally, I compulsively reread this bit of flash fiction fluff, and got a little worried that people might think I was making fun of Southerners, when nothing was farther from my mind – Edgar and Bill are perfectly competent adults who love telling tales and maybe messing with the out of towner a bit. Colorful locals, in other words, not red neck morons. I worry some people don’t know the difference, one difference being that, in my experience, there are many more of the former than the latter.

Anyway, came across this YouTube video, wherein an English shipwright is rebuilding the Tally Ho, a hundred year old classic harbor clipper style racing yacht. He’s rebuilding it in Washington state, but needed a lot of extra-sturdy Southern live oak for the structural members.

Turns out that a man named Steve Cross in southern Georgia runs the only mill in America that handles live oak – the very characteristics that make it ideal for ship structural members render it very difficult and uneconomical for commercial mills to deal with. So Steve builds his own Rube Goldberg style mill out of parts from tractors, forklifts and combines and whatever else was lying around, and serves ship builders and restorers around the world.

He’s clearly a mechanical genius of sorts – and is just as clearly one of those colorful locals messing a bit – a completely friendly bit – with English Leo the shipwright.

A Fine Art Triduum

Some art I like for the Holiest of Days. Have a happy, holy and blessed Triduum!

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The Last Supper, by Bouveret, 19th century
Duccio di Buoninsegna: Jezus wast de voeten van de apostelen (Maestà)
Duccio di Buoninsegna ca. 1255 – 1319

 

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The Agony In The Garden by Guiseppe Cesari
Ciseri – Behold the Man
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Bouguereau – the Flagellation of Christ
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Christ Meeting His Mother on the Way to Calvary.

 

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William-Adolphe Bouguereau (1825-1905) – Compassion 
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Bouguereau – Pieta
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Bouguereau – Mourning Virgin Mother
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Ciseri – The transport of Christ to the sepulcher
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Piero della Francesca – Resurrection
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Bouguereau – the Holy Women at the Tomb